INSERT INTO `wp_posts` VALUES (444,16,'2011-02-21 16:44:55','2011-02-21 22:44:55','<div>\r\n<div>Although there were many ancient epic poems throughout history, The Epic of Gilgamesh is by far the oldest known epic poem and is one of the oldest surviving text in the world. The surviving version of the epic is written in Akkadian, but was originally told orally in the ancient Sumerian language (“Ancient Religions”). It is a mythical account and symbolic account of an actual Sumerian king, Gilgamesh, in search for immortality.</div>\r\n<!--more-->\r\n<div>The epic embodies the values and ideals of the predominate culture at the time. The Epic also takes place in the same time period as the Great Flood similar to the story of Noah in the Genesis (“Ancient Religions”).</div>\r\n<div><span> </span>The main theme of the poem centers around death and the value of life. The main character, Gilgamesh, was a Sumerian king that lived around 2700 BCE in the area known today as modern Iraq (“Ancient Religions”). In the epic, he is depicted as an arrogant, ruthless, and powerful king who is of divine birth. His mother was a goddess and his father was a human, which makes him a demigod. Gilgamesh fell disfavor with the gods who decided to punish him. They sent Enkidu, a wild man the gods had created to kill Gilgamesh. Gilgamesh and Enkidu encounter each other and fight furiously until Gilgamesh finally wins. Enkidu submits. The two become good friends as they journey together through dangerous quests. Later on, Enkidu dies after the gods decided to inflict his death. Distressed by the death of his close friend, Gilgamesh begins a quest in search of immortality. He finds the immortal man who survived the Great Flood, Utnapishtim, who tests Gilgamesh to prove to him his irreversible fate of human mortality. Gilgamesh fails. Utapishtim’s wife, witnessing Gilgamesh’s disappointment, convinces her husband to be merciful. Utnapishtim then tells Gilgamesh of a plant that can restore youth. Gilgamesh obtains the plant and plans to share it with all the old men. A snake then steals and eats the plant. Gilgamesh comes back empty-handed and finally reconciled with his fate of morality. When he finally returns, he contributes great achievements to his people.</div>\r\n<div></div>\r\n<div><span> </span>The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE (“The Epic”). The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE (“The Epic”). The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on wet clay with a stylus made out of bone or reed material to engrave characters or ideographs (“The Epic”). Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time.</div>\r\n<div></div>\r\n<div>The Epic of Gilgamesh was typical for it’s time in that it included supernatural aspects and religion to explain events and ideas. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, otherwise called the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and is considered as sacred writing. History and legends were recorded in cuneiform such as the Enuma Elish (“The Epic”), otherwise known as “the Babylonian Creation myth”, which another work that was also as important and similar to the Epic of Gilgamesh. Both works tell of historical people or events that happened in a mythological context. Both the Epic of Gilgamesh and the Enuma Elish are sacred texts that also tell of historical events and a very symbolic and religious manner (Fiero). The Babylonian Creation Myth, for example, portrays the creation of the world, in which the young god, Marduk, slays the mother dragon, Taimat, depicting the transition from a Matriarchy to Patriarchy (Fiero). They also portray the polytheistic nature of Mesopotamian religions, which were the oldest known religions, giving us insight to the way the ancient people saw the world. Compared to today, the people of Mesopotamia had little entertainment. Listening to ancient lore was one of the few entertainments the people had back then. The Epic of Gilgamesh was appreciated in that it was not only a source of entertainment, but also a sacred work of literature that’ reflects their culture and beliefs. It was one of the many things that defined them as a people.</div>\r\n<div></div>\r\n<div><span> </span>Although The Epic of Gilgamesh was written many millennia ago, it is still enjoyed, studied, and passed on throughout the generations. The fact that it was written and translated from Sumerian to Akkadian (“World Religions”), one can infer that it was well received by the people of Mesopotamia. There were also many versions of the epic it scattered throughout the region (Sanders). The Epic of Gilgamesh portrays heroic exploits of that time, philosophical teachings, and world views about life. The Epic of Gilgamesh is still widely received today as it is still being translated and interpreted as a classic with many themes pertaining to friendship, life and death, eternal life, and “the process by which human beings become mature, moving from innocent and reckless adolescence to the awareness of values that are more real, though less apparent” (Pettinato) . It is being studied in high schools and colleges as part of literary education. It is currently still being printed in textbooks and encyclopedias. Many students of literature write essays about the Epic of Gilgamesh.</div>\r\n<div></div>\r\n<div>Although the epic is still widely known today, the reception is not the same as it was back in it’s time due to cultural context and translation. The Sumerian language, which is the language the Epic of Gilgamesh is told, is almost obsolete if not extinct in this modern age. Yet, the character of Gilgamesh remains legendary, an inspirational figure that is often referenced in many modern works and popular culture today.</div>\r\n<div></div>\r\n<div><span> </span>I found the Epic of Gilgamesh to be meditative and meaningful in that it tackles a concept that is still relevant in our civilization today. Despite all the scientific discoveries and technological advances in medicine and other life-prolonging sciences, all human beings face death, which many today have trouble coming to terms with. The epic addresses growth and decay. For example, a relevant situation in today’s world can been seen in the brotherly relationship between Enkidu and Gilgamesh. Although both grow very close, not even friendship can overcome death, illustrating the temporal quality of many things in life. Things like love, friendship are all temporary. Things change over time, and people and places tend to disappear and one must learn to come to terms with it.</div>\r\n<div></div>\r\n<div><span> </span>What is most significant about this work is the cultural similarities and differences between ancient Mesopotamia and today’s culture. Throughout all cultures and time, all people had to cope with the idea of death, which is still something relevant today although today’s knowledge, technology, and science allows us to understand the world around us and also to bypass things that were once really dire back then. Yet still, all things are temporary and one cannot completely alter the laws of nature.</div>\r\n<div></div>\r\n<div><span> </span>It portrays values that were important at the time compared to the values we hold today. Such as how in the end of the epic, Gilgamesh dies. Although he is dead, he is still remembered as a great king who’s lasting achievements are valued and are significant in contribution to humanity for generations, which the epic implies is closest thing to immortality that human beings can achieve. Contributing to humanity in a positive manner is the one thing that future generations should aspire to.</div>\r\n<div></div>\r\n<div></div>\r\n<div></div>\r\n<div></div>\r\n</div>\r\n<div>\r\n<div style=\"text-align: center\">Works Cited:</div>\r\n<div style=\"text-align: center\"></div>\r\n<div>\"Ancient Religions of Egypt and Mesopotamia.\" World Religions Reference Library. Ed. Julie L. Carnagie, <span> </span>et al. Vol. 1: Almanac. Detroit: UXL, 2007. 37-67. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<div></div>\r\n<div>Fiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.</div>\r\n<div></div>\r\n<div>Pettinato, Giovanni. \"Gilgamesh.\" Encyclopedia of Religion. Ed. Lindsay Jones. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2005. 3486-3489. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<div></div>\r\n<div>Sandars, N.K. \"Epic of Gilgamesh.\" Reference Guide to World Literature. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1246-1247. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<div></div>\r\n<div>\"The Epic of Gilgamesh.\" World Religions Reference Library. Ed. Julie L. Carnagie, et al. Vol. 5: Primary <span> </span>Sources. Detroit: UXL, 2007. 61-72. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<div></div>\r\n<div>Westwood, Jennifer. \"Gilgamesh.\" Macmillan Encyclopedia of Death and Dying. Ed. Robert Kastenbaum. Vol. 1. New York: Macmillan Reference USA, 2002. 331-334. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n</div>','The Epic of Gilgamesh','','inherit','open','open','','424-revision-16','','','2011-02-21 16:44:55','2011-02-21 22:44:55','',424,'http://jeanatacc.com/2011/?p=444',0,'revision','',0),(446,16,'2011-02-21 16:48:59','2011-02-21 22:48:59','<div>\r\n<div>Although there were many ancient epic poems throughout history, The Epic of Gilgamesh is by far the oldest known epic poem and is one of the oldest surviving text in the world. The surviving version of the epic is written in Akkadian, but was originally told orally in the ancient Sumerian language (“Ancient Religions”). It is a mythical account and symbolic account of an actual Sumerian king, Gilgamesh, in search for immortality.</div>\r\n<!--more-->\r\n<div>The epic embodies the values and ideals of the predominate culture at the time. The Epic also takes place in the same time period as the Great Flood similar to the story of Noah in the Genesis (“Ancient Religions”).</div>\r\n<BR>\r\n<div>The main theme of the poem centers around death and the value of life. The main character, Gilgamesh, was a Sumerian king that lived around 2700 BCE in the area known today as modern Iraq (“Ancient Religions”). In the epic, he is depicted as an arrogant, ruthless, and powerful king who is of divine birth. His mother was a goddess and his father was a human, which makes him a demigod. Gilgamesh fell disfavor with the gods who decided to punish him. They sent Enkidu, a wild man the gods had created to kill Gilgamesh. Gilgamesh and Enkidu encounter each other and fight furiously until Gilgamesh finally wins. Enkidu submits. The two become good friends as they journey together through dangerous quests. Later on, Enkidu dies after the gods decided to inflict his death. Distressed by the death of his close friend, Gilgamesh begins a quest in search of immortality. He finds the immortal man who survived the Great Flood, Utnapishtim, who tests Gilgamesh to prove to him his irreversible fate of human mortality. Gilgamesh fails. Utapishtim’s wife, witnessing Gilgamesh’s disappointment, convinces her husband to be merciful. Utnapishtim then tells Gilgamesh of a plant that can restore youth. Gilgamesh obtains the plant and plans to share it with all the old men. A snake then steals and eats the plant. Gilgamesh comes back empty-handed and finally reconciled with his fate of morality. When he finally returns, he contributes great achievements to his people.</div>\r\n<BR>\r\n<div>The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE (“The Epic”). The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE (“The Epic”). The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on wet clay with a stylus made out of bone or reed material to engrave characters or ideographs (“The Epic”). Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time.</div>\r\n<BR>\r\n<div>The Epic of Gilgamesh was typical for it’s time in that it included supernatural aspects and religion to explain events and ideas. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, otherwise called the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and is considered as sacred writing. History and legends were recorded in cuneiform such as the Enuma Elish (“The Epic”), otherwise known as “the Babylonian Creation myth”, which another work that was also as important and similar to the Epic of Gilgamesh. Both works tell of historical people or events that happened in a mythological context. Both the Epic of Gilgamesh and the Enuma Elish are sacred texts that also tell of historical events and a very symbolic and religious manner (Fiero). The Babylonian Creation Myth, for example, portrays the creation of the world, in which the young god, Marduk, slays the mother dragon, Taimat, depicting the transition from a Matriarchy to Patriarchy (Fiero). They also portray the polytheistic nature of Mesopotamian religions, which were the oldest known religions, giving us insight to the way the ancient people saw the world. Compared to today, the people of Mesopotamia had little entertainment. Listening to ancient lore was one of the few entertainments the people had back then. The Epic of Gilgamesh was appreciated in that it was not only a source of entertainment, but also a sacred work of literature that’ reflects their culture and beliefs. It was one of the many things that defined them as a people.</div>\r\n<BR><div>Although The Epic of Gilgamesh was written many millennia ago, it is still enjoyed, studied, and passed on throughout the generations. The fact that it was written and translated from Sumerian to Akkadian (“World Religions”), one can infer that it was well received by the people of Mesopotamia. There were also many versions of the epic it scattered throughout the region (Sanders). The Epic of Gilgamesh portrays heroic exploits of that time, philosophical teachings, and world views about life. The Epic of Gilgamesh is still widely received today as it is still being translated and interpreted as a classic with many themes pertaining to friendship, life and death, eternal life, and “the process by which human beings become mature, moving from innocent and reckless adolescence to the awareness of values that are more real, though less apparent” (Pettinato) . It is being studied in high schools and colleges as part of literary education. It is currently still being printed in textbooks and encyclopedias. Many students of literature write essays about the Epic of Gilgamesh.</div><BR>\r\n<div>Although the epic is still widely known today, the reception is not the same as it was back in it’s time due to cultural context and translation. The Sumerian language, which is the language the Epic of Gilgamesh is told, is almost obsolete if not extinct in this modern age. Yet, the character of Gilgamesh remains legendary, an inspirational figure that is often referenced in many modern works and popular culture today.</div>\r\n<BR>\r\n<div>I found the Epic of Gilgamesh to be meditative and meaningful in that it tackles a concept that is still relevant in our civilization today. Despite all the scientific discoveries and technological advances in medicine and other life-prolonging sciences, all human beings face death, which many today have trouble coming to terms with. The epic addresses growth and decay. For example, a relevant situation in today’s world can been seen in the brotherly relationship between Enkidu and Gilgamesh. Although both grow very close, not even friendship can overcome death, illustrating the temporal quality of many things in life. Things like love, friendship are all temporary. Things change over time, and people and places tend to disappear and one must learn to come to terms with it.</div>\r\n<BR>\r\n<div>What is most significant about this work is the cultural similarities and differences between ancient Mesopotamia and today’s culture. Throughout all cultures and time, all people had to cope with the idea of death, which is still something relevant today although today’s knowledge, technology, and science allows us to understand the world around us and also to bypass things that were once really dire back then. Yet still, all things are temporary and one cannot completely alter the laws of nature.</div>\r\n<BR>\r\n<div>It portrays values that were important at the time compared to the values we hold today. Such as how in the end of the epic, Gilgamesh dies. Although he is dead, he is still remembered as a great king who’s lasting achievements are valued and are significant in contribution to humanity for generations, which the epic implies is closest thing to immortality that human beings can achieve. Contributing to humanity in a positive manner is the one thing that future generations should aspire to.</div>\r\n</div>\r\n<BR><BR>\r\n<div>\r\n<div style=\"text-align: center\">Works Cited:</div>\r\n<BR>\r\n<div>\"Ancient Religions of Egypt and Mesopotamia.\" World Religions Reference Library. Ed. Julie L. Carnagie, <span> </span>et al. Vol. 1: Almanac. Detroit: UXL, 2007. 37-67. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Fiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.</div>\r\n<BR>\r\n<div>Pettinato, Giovanni. \"Gilgamesh.\" Encyclopedia of Religion. Ed. Lindsay Jones. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2005. 3486-3489. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Sandars, N.K. \"Epic of Gilgamesh.\" Reference Guide to World Literature. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1246-1247. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>\"The Epic of Gilgamesh.\" World Religions Reference Library. Ed. Julie L. Carnagie, et al. Vol. 5: Primary <span> </span>Sources. Detroit: UXL, 2007. 61-72. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Westwood, Jennifer. \"Gilgamesh.\" Macmillan Encyclopedia of Death and Dying. Ed. Robert Kastenbaum. Vol. 1. New York: Macmillan Reference USA, 2002. 331-334. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n</div>','The Epic of Gilgamesh','','inherit','open','open','','424-revision-18','','','2011-02-21 16:48:59','2011-02-21 22:48:59','',424,'http://jeanatacc.com/2011/?p=446',0,'revision','',0),(447,22,'2011-02-21 15:26:40','2011-02-21 21:26:40','','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-3','','','2011-02-21 15:26:40','2011-02-21 21:26:40','',419,'http://jeanatacc.com/2011/?p=447',0,'revision','',0),(448,10,'2011-02-21 16:43:39','2011-02-21 22:43:39','<em>Homer\'s Iliad</em> is an epic poem written in the classical antiquity time period, approximately 850-800 B.C. It is typically credited to a blind poet named Homer. The time of Homer\'s existence is still disputed today. Herodotus suggested that Homer lived about 400 years prior to his time, which was around 400 B.C, placing Homer around the 9th century B.C. Other scholars date Homer much closer to the actual events of the Trojan War, around 11oo B.C. This ancient work of literature should be preserved in the time capsule because it is one of the most important texts in Greek history and gives us insight on the theological and social views of the Hellenistic time period. Much of our information about the Trojan War and mythological tales of the gods are preserved in the text of <em>Homer\'s Iliad.</em>\r\n\r\n<em><!--more--></em>\r\n\r\nThe Iliad chronicles a short period of time in the ten-year war between the Greeks and the Trojans. The poem focuses on Homer’s epic hero, swift-footed Achilles. The poem starts off nine years into the war, describing the Greeks sacking a Trojan village, where Achilles takes Briseis as his prize, and Agamemnon, commander of the Achaean army, takes Chrysies. Chryses pleads with Agamemnon to return his daughter, but is only refused. With no luck, Chryses prays to the god Apollo for help, who brings plague upon the Greeks. Achilles then summons the aid of a soothsayer, Calchas, to reveal the cause of the plague. When they find that it was sent by Chryses and Apollo, Agamemnon becomes enraged, saying that he will only return Chrysies if he gets Briseis as his prize. This creates conflict between Agamemnon and one of his greatest warriors, swift-footed Achilles.\r\n\r\nThe Iliad concerns itself with the rage of mortals and the intervention of the gods with the mortals during war. The gods associate themselves with mortal affairs in two ways. In one way, they act as external forces on the events of man, like when Apollo sends the plague upon the Achaean army. In the second way, they interact internally with the mortals, such as when Athena prevents Achilles from abandoning reason, and persuades him to use words against Agamemnon, instead of violence. While the gods play a vital role in the clockwork and life, death and war, they also provide another function, sort of a satirical comic relief.  The conflicts and squabbles between the gods often seem humorously petty and ridiculous in comparison to the serious death and destruction that is occurring below.\r\n\r\nThe epic was a masterpiece of its time, concerning the moral values and ethics of the Hellenistic people of ancient Greece.  In this time, mythological gods and heroes dominated the religious sector of Greek society. Along with art and music of the Hellenistic and Homeric period, literature often incorporated mythological figures, like Zeus and Athena, who regarded as supreme gods of the Greek realm, and were celebrated as such through sculptures, paintings and epic poems. Before the Iliad, no epic poem had concerned itself so much with divine intervention and the dealings and interactions of mortals and the gods. The work itself seems to celebrate war. In that, it presents its characters as worthy or cowardice as a degree depending on their competence and bravery in battle.  With its constant gory battles and mortal death, it sets up a mood of intensity with a touch of taking things way too seriously.\r\n\r\nThe poem is written in dactylic hexameter, a style often attributed to Homer. During his time, epics were performed orally, often aided by a lyre or some other kind of instrument. An epic poem contains guidelines to be followed carefully in order to write a proper epic. First, the poem’s theme or purpose must be stated. Invocation of a muse follows, praising her and asking for aid in writing the poem. Muses were the daughters of Zeus, Calliope being the music of epic poetry. Once the muse is invoked, one must begin the poem <em>in medias res, </em>or “in the middle of things.” Epic poems always begin the tale of whatever is going on after it has been going on for quite some time. Earlier events of the story are then told in flashbacks. The past events then provide a layout of the events occurring in the poem. The poem must center itself around a heroic figure, often personifying the ideals and moral ethics of the culture of his society.  The hero often utilizes the aid of the divine and supernatural, associating himself with the quarrels of the gods. It is typical of epics to present war and the theme of death and mortality. In this time period, humanism and realism were topics of interest among the intellectuals and scholars. The theories of life, death and purpose were discussed in treatises and teachings as well as art and poetry throughout the ages of early Greek civilization.\r\n\r\nThe Iliad is considered the most war-glorifying epic poem to date. Homer spares no horrific or graphic details in describing the tragedies and realities of warfare. It shows the harsh ironies of war. The destructive enterprise is in fact an intriguing and intensely creative activity. The careful practice of combat arts and the creative design of weaponry from great artistic skill, are all for the slaughter of man. Homer shows that war is all at the same time gory, horrific, tragic, realistic, intense and beautiful. He provides both aspects of war and takes no sides on attempting to moralize the activity.\r\n\r\nThe Iliad was extremely influential on Greek culture. It was the closest thing they had to a holy text.  It helped to create a sense of virtue as a constant struggle to exert peak human excellence in all forms. These traditional virtues became very important in the writings of thinkers like Aristotle. The Iliad also had a profound influence on Greek and Roman writers, such as Virgil and Ovid, and inspiration to the arts for generations. Paintings and sculptures were modeled after people and events described by Homer. It possibly made the Trojan War the single most important event in Greek literature and tradition.\r\n\r\nIn modern times, the work is taken as a mythological tale of heroism that serves as nothing more than a fictional story of epic proportions to convey a theme of mortality, divine virtue and human excellence. Compared to cotemporary religions, the polytheistic pagan views of the ancient Greeks as outlined by Homer are outdated and serve as a foundation to later religions. According to modern scholars, the stories of the epic had to have been passed down orally many times before being written down. Each orator added his own touch and detail to the story over generations, creating a lengthy and detailed story before being written down and credited to a still uncertain author.\r\n\r\nThe Iliad is no unlike the Odyssey, another epic poem by Homer. It centralizes around a single heroic character on a mission. Unlike the Iliad, however, <em>the Odyssey </em>focuses more on motives such as love of family and homeland. The journey of Odysseus is his attempt to regain those things dearest to him, and to return home safely. The underlying themes of the Iliad are war and death, along with the constant competitive struggle of the epic hero. The underlying themes of the Odyssey are that of cunning and wit, not strength and endurance. The Odyssey is a compliment to the Iliad, which is the story of Odysseus’ long, arduous travels home. He encounters many obstacles and setbacks, using his cunning and wit to fool even the toughest of foes. Although supposedly written by the same blind bard, the two epics differ in mood and tone entirely. Some historians go as far as saying that the Odyssey was written by a different poet completely, merely to compliment the Iliad with a surreal tale of heroic travels. It is said that the Odyssey was written in Homer’s later years, when he was less concerned with the dealings of death and mortality in the form of brutal war, and more interested in hospitality and the natural beauty of the landscape he so adamantly describes.\r\n\r\nFuture generations can learn a lot from the text of the <em>Iliad. </em>Homer\'s unbiased dedication to the brutality of war can say a lot about the wars we have today. The heroic endeavors of Achilles encompass an ideal ethical portrayal of the motives and ancient society, not unlike those of today. Pagan religion, such as Zeus and all the gods of the Pantheon can be said to be a basis of religions we have today, although very disconnected and primitive. It is very interesting to read about the thoughts, motives and morals of society who lived thousands and thousands of years before our time. It is truly something to learn from and think about in our modern society.\r\n\r\nJohnston, Ian. \"The Iliad (abridged).\" <em>Www.naxosaudiobooks.com</em>. Naxos. Web. 19 Feb. 2011. &lt;http://www.naxosaudiobooks.com/445812.htm&gt;.\r\n\r\nTherese. \"Iliad vs the Odyssey.\" <em>Inklings</em>. Web. 21 Feb. 2011. &lt;http://sesquipadalianmusings.blogspot.com/2007/10/iliad-vs-odyssey.html&gt;.\r\n\r\nHomer, and I. A. Richards. <em>The Wrath of Achilles: the Iliad of Homer</em>. London: Routledge &amp; K. Paul, 1951. Print.\r\n\r\nBloom, Harold. <em>Homer\'s The Iliad</em>. New York: Chelsea House, 1987. Print.\r\n\r\nJohnston, Ian C. <em>The Ironies of War: an Introduction to Homer\'s Iliad</em>. Lanham, MD: University of America, 1988. Print.\r\n\r\n\"SparkNotes: The Iliad: Context.\" <em>SparkNotes: Today\'s Most Popular Study Guides</em>. Web. 21 Feb. 2011. &lt;http://www.sparknotes.com/lit/iliad/context.html&gt;.','Homer\'s Iliad: TCP 1','','inherit','open','open','','396-revision-4','','','2011-02-21 16:43:39','2011-02-21 22:43:39','',396,'http://jeanatacc.com/2011/?p=448',0,'revision','',0),(490,36,'2011-02-23 23:07:48','2011-02-24 05:07:48','<em>             The Art of Love</em> is a didactic poem created by Ovid (a roman elegiac and epic poet).  It was created about 2-1 BC.  The Art of Love is a poem of love that is divided into three sections: “first telling men how to choose and capture their chosen women, second telling men how to keep this woman, and third directed at women, instructing them how to behave in reaction to the behavior suggested to men in the first two books.” (Reference guide to world literature) The poem consists of metaphors for men to master women.  The whole idea of this poem is love, but for men meaning sexual. For Ovid having a lot of experience he quoted “what I write, believe me, I have practiced.”  The arts of love was a great success that of Ovid and especially during the Middle Ages and high ages.\n\n  The reason that “The art of love” was created was because Ovid felt what they called Tristia. His poem brought people to think of many views. Some people agree with what he said, but then others felt offended. During its time it won the poet eternal fame.\n\n            Many people today still read the poem of The Art of Love. It’s a great story for both women and men to read.  And in my point of view I agree in today’s society if girl were to read this magnificent work they would agree when Ovid talks about how “if a woman follows a beauty regimen specific to herself and exudes “elegance”, then she will be seen as desirable to many men.” (Poetry connection)  Many men know a day’s judge a women by the way girl is dress and that exactly what Ovid talks about. `By the way that Ovid expresses him in B.C about how women and men are seen, many things have not been changed.\n\n            What I found meaningful about The Art of Love is about how Ovid gives both men and women advice on love. It’s surprising when someone from experience talks about what they went through and still give great advice.  But the bad thing about this poem is that it could be taken as two ways: sex or love.\n\n                                                                                Work Cited\n\nGraham, Colin. \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3408400709&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">The Art of Love (Ars Amatoria) Poem by Ovid, C. 1 BC</a>.\" <span style=\"text-decoration: underline\">Reference Guide to World Literature</span>. Ed. Sara Pendergast and Tom Pendergast. Vol. 2: Works. 3<sup>rd</sup> ed. Detroit: St. James Press, 2003. 1142-1143.\n\nN.p.: n.p., n.d. <em>Poetry Connection</em>. Web. 23 Feb. 2011.\n\n\"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3404704911&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">Ovid</a>.\" <span style=\"text-decoration: underline\">Encyclopedia of World Biography</span>. Vol. 12. 2<sup>nd</sup> ed. Detroit: Gale, 2004. 34-36. <span style=\"text-decoration: underline\">Gale Virtual Reference Library</span>. Gale. Austin Community College Libraries. 31 Jan. 2011','The Art of Love','','inherit','open','open','','489-revision','','','2011-02-23 23:07:48','2011-02-24 05:07:48','',489,'http://jeanatacc.com/2011/?p=490',0,'revision','',0),(528,1,'2011-02-16 16:15:49','2011-02-16 22:15:49','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"392\" caption=\"La Maison Carrée\"]<a href=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\"><img src=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\" alt=\"\" width=\"392\" height=\"576\" /></a>[/caption]\r\n\r\nhttp://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-9','','','2011-02-16 16:15:49','2011-02-16 22:15:49','',199,'http://jeanatacc.com/2011/?p=528',0,'revision','',0),(450,10,'2011-02-23 00:30:31','2011-02-23 06:30:31','<em>Homer\'s Iliad</em> is an epic poem written in the classical antiquity time period, approximately 850-800 B.C. It is typically credited to a blind poet named Homer. The time of Homer\'s existence is still disputed today. Herodotus suggested that Homer lived about 400 years prior to his time, which was around 400 B.C, placing Homer around the 9th century B.C. Other scholars date Homer much closer to the actual events of the Trojan War, around 11oo B.C. This ancient work of literature should be preserved in the time capsule because it is one of the most important texts in Greek history and gives us insight on the theological and social views of the Hellenistic time period. Much of our information about the Trojan War and mythological tales of the gods are preserved in the text of <em>Homer\'s Iliad.</em>\n\n<em><!--more--></em>\n\nThe Iliad chronicles a short period of time in the ten-year war between the Greeks and the Trojans. The poem focuses on Homer’s epic hero, swift-footed Achilles. The poem starts off nine years into the war, describing the Greeks sacking a Trojan village, where Achilles takes Briseis as his prize, and Agamemnon, commander of the Achaean army, takes Chrysies. Chryses pleads with Agamemnon to return his daughter, but is only refused. With no luck, Chryses prays to the god Apollo for help, who brings plague upon the Greeks. Achilles then summons the aid of a soothsayer, Calchas, to reveal the cause of the plague. When they find that it was sent by Chryses and Apollo, Agamemnon becomes enraged, saying that he will only return Chrysies if he gets Briseis as his prize. This creates conflict between Agamemnon and one of his greatest warriors, swift-footed Achilles (SparkNotes:Iliad).\n\nThe Iliad concerns itself with the rage of mortals and the intervention of the gods with the mortals during war. The gods associate themselves with mortal affairs in two ways. In one way, they act as external forces on the events of man, like when Apollo sends the plague upon the Achaean army. In the second way, they interact internally with the mortals, such as when Athena prevents Achilles from abandoning reason, and persuades him to use words against Agamemnon, instead of violence. While the gods play a vital role in the clockwork of life, death and war, they also provide another function, sort of a satirical comic relief.  The conflicts and squabbles between the gods often seem humorously petty and ridiculous in comparison to the serious death and destruction that is occurring below.\n\nThe epic was a masterpiece of its time, concerning the moral values and ethics of the Hellenistic people of ancient Greece.  In this time, mythological gods and heroes dominated the religious sector of Greek society. Along with art and music of the Hellenistic and Homeric period, literature often incorporated mythological figures, like Zeus and Athena, who regarded as supreme gods of the Greek realm, and were celebrated as such through sculptures, paintings and epic poems. Before the Iliad, no epic poem had concerned itself so much with divine intervention and the dealings and interactions of mortals and the gods (I. A. Richards 50). The work itself seems to celebrate war. In that, it presents its characters as worthy or cowardice as a degree depending on their competence and bravery in battle.  With its constant gory battles and brutal death, it sets up a mood of intensity with a touch of taking things way too seriously.\n\nThe poem is written in dactylic hexameter, a style often attributed to Homer. During his time, epics were performed orally, often aided by a lyre or some other kind of instrument. An epic poem contains guidelines to be followed carefully in order to write a proper epic. First, the poem’s theme or purpose must be stated. Invocation of a muse follows, praising her and asking for aid in writing the poem. Muses were the daughters of Zeus, Calliope being the music of epic poetry. Once the muse is invoked, one must begin the poem <em>in medias res, </em>or “in the middle of things\" (Bloom 117). Epic poems always begin the tale of whatever is going on after it has been going on for quite some time. Earlier events of the story are then told in flashbacks. The past events then provide a layout of the events occurring in the poem. The poem must center itself around a heroic figure, often personifying the ideals and moral ethics of the culture of his society.  The hero often utilizes the aid of the divine and supernatural, associating himself with the quarrels of the gods. It is typical of epics to present war and the theme of death and mortality. In this time period, humanism and realism were topics of interest among the intellectuals and scholars. The theories of life, death and purpose were discussed in treatises and teachings as well as art and poetry throughout the ages of early Greek civilization.\n\nThe Iliad was extremely influential on Greek culture. It was the closest thing they had to a holy text.  It helped to create a sense of virtue as a constant struggle to exert peak human excellence in all forms (Johnston p. 5). These traditional virtues became very important in the writings of thinkers like Aristotle. The Iliad also had a profound influence on Greek and Roman writers, such as Virgil and Ovid, and inspiration to the arts for generations. Paintings and sculptures were modeled after people and events described by Homer. It possibly made the Trojan War the single most important event in Greek literature and tradition.\n\nCompared to cotemporary religions, the polytheistic pagan views of the ancient Greeks as outlined by Homer are outdated and serve as a foundation to later religions. According to modern scholars, the stories of the epic had to have been passed down orally many times before being written down. Each orator added his own touch and detail to the story over generations, creating a lengthy and detailed story before being written down and credited to a still uncertain author. This is only a theory considering that, although the poem is credited to being written by Homer and orally performed by him and others until written down sometime in the 5th century, it is still unknown for sure the exact origins of the story.\n\nThe Iliad is no unlike the Odyssey, another epic poem by Homer. It centralizes around a single heroic character on a mission. Unlike the Iliad, however, <em>the Odyssey </em>focuses more on motives such as love of family and homeland (Therese p. 3). The journey of Odysseus is his attempt to regain those things dearest to him, and to return home safely (Therese). The underlying themes of the Iliad are war and death, along with the constant competitive struggle of the epic hero. The underlying themes of the Odyssey are that of cunning and wit, not strength and endurance. The Odyssey is a compliment to the Iliad, which is the story of Odysseus’ long, arduous travels home. He encounters many obstacles and setbacks, using his cunning and wit to fool even the toughest of foes (Therese 4). Although supposedly written by the same blind bard, the two epics differ in mood and tone entirely. Some historians go as far as saying that the Odyssey was written by a different poet completely, merely to compliment the Iliad with a surreal tale of heroic travels. It is said that the Odyssey was written in Homer’s later years, when he was less concerned with the dealings of death and mortality in the form of brutal war, and more interested in hospitality and the natural beauty of the landscape he so adamantly describes.\n\n<em>Cultural Influences</em>\n\nEven today, the <em>Iliad</em> still makes itself and it\'s story known to us, like the movie Troy. There are some major and minor differences between the original epic and  the Hollywood interpretation. For instance, the war took seventeen days in the movie, when in reality it lasted closer to ten years. In the movie, Patroklus was cousin to Achilles and younger than him. From the <em>Iliad, </em>Patroklus was neither cousin to Achilles nor older than him, he was just Achilles\' favorite warrior whom he loved very much. Despite few differences, the movie still serves to portray the long-lived poem and is entertaining nonetheless. Also from the stories of the Trojan War comes the tale of the Trojan Horse, which is a term we now use today to describe a vicious computer virus. The <em>Iliad </em>is and will always be a timeless piece of literature, and therefore should be included in the time capsule.\n\nWorks cited:\n\nJohnston, Ian. \"The Iliad (abridged).\" <em>Www.naxosaudiobooks.com</em>. Naxos. Web. 19 Feb. 2011. &lt;http://www.naxosaudiobooks.com/445812.htm&gt;.\n\nTherese. \"Iliad vs the Odyssey.\" <em>Inklings</em>. Web. 21 Feb. 2011. &lt;http://sesquipadalianmusings.blogspot.com/2007/10/iliad-vs-odyssey.html&gt;.\n\nHomer, and I. A. Richards. <em>The Wrath of Achilles: the Iliad of Homer</em>. London: Routledge &amp; K. Paul, 1951. Print.\n\nBloom, Harold. <em>Homer\'s The Iliad</em>. New York: Chelsea House, 1987. Print.\n\nJohnston, Ian C. <em>The Ironies of War: an Introduction to Homer\'s Iliad</em>. Lanham, MD: University of America, 1988. Print.\n\n\"SparkNotes: The Iliad: Context.\" <em>SparkNotes: Today\'s Most Popular Study Guides</em>. Web. 21 Feb. 2011. &lt;http://www.sparknotes.com/lit/iliad/context.html&gt;.','Homer\'s Iliad','','inherit','open','open','','396-autosave','','','2011-02-23 00:30:31','2011-02-23 06:30:31','',396,'http://jeanatacc.com/2011/?p=450',0,'revision','',0),(451,10,'2011-02-21 18:27:08','2011-02-22 00:27:08','<em>Homer\'s Iliad</em> is an epic poem written in the classical antiquity time period, approximately 850-800 B.C. It is typically credited to a blind poet named Homer. The time of Homer\'s existence is still disputed today. Herodotus suggested that Homer lived about 400 years prior to his time, which was around 400 B.C, placing Homer around the 9th century B.C. Other scholars date Homer much closer to the actual events of the Trojan War, around 11oo B.C. This ancient work of literature should be preserved in the time capsule because it is one of the most important texts in Greek history and gives us insight on the theological and social views of the Hellenistic time period. Much of our information about the Trojan War and mythological tales of the gods are preserved in the text of <em>Homer\'s Iliad.</em>\r\n\r\n<em><!--more--></em>\r\n\r\nThe Iliad chronicles a short period of time in the ten-year war between the Greeks and the Trojans. The poem focuses on Homer’s epic hero, swift-footed Achilles. The poem starts off nine years into the war, describing the Greeks sacking a Trojan village, where Achilles takes Briseis as his prize, and Agamemnon, commander of the Achaean army, takes Chrysies. Chryses pleads with Agamemnon to return his daughter, but is only refused. With no luck, Chryses prays to the god Apollo for help, who brings plague upon the Greeks. Achilles then summons the aid of a soothsayer, Calchas, to reveal the cause of the plague. When they find that it was sent by Chryses and Apollo, Agamemnon becomes enraged, saying that he will only return Chrysies if he gets Briseis as his prize. This creates conflict between Agamemnon and one of his greatest warriors, swift-footed Achilles.\r\n\r\nThe Iliad concerns itself with the rage of mortals and the intervention of the gods with the mortals during war. The gods associate themselves with mortal affairs in two ways. In one way, they act as external forces on the events of man, like when Apollo sends the plague upon the Achaean army. In the second way, they interact internally with the mortals, such as when Athena prevents Achilles from abandoning reason, and persuades him to use words against Agamemnon, instead of violence. While the gods play a vital role in the clockwork and life, death and war, they also provide another function, sort of a satirical comic relief.  The conflicts and squabbles between the gods often seem humorously petty and ridiculous in comparison to the serious death and destruction that is occurring below.\r\n\r\nThe epic was a masterpiece of its time, concerning the moral values and ethics of the Hellenistic people of ancient Greece.  In this time, mythological gods and heroes dominated the religious sector of Greek society. Along with art and music of the Hellenistic and Homeric period, literature often incorporated mythological figures, like Zeus and Athena, who regarded as supreme gods of the Greek realm, and were celebrated as such through sculptures, paintings and epic poems. Before the Iliad, no epic poem had concerned itself so much with divine intervention and the dealings and interactions of mortals and the gods. The work itself seems to celebrate war. In that, it presents its characters as worthy or cowardice as a degree depending on their competence and bravery in battle.  With its constant gory battles and mortal death, it sets up a mood of intensity with a touch of taking things way too seriously.\r\n\r\nThe poem is written in dactylic hexameter, a style often attributed to Homer. During his time, epics were performed orally, often aided by a lyre or some other kind of instrument. An epic poem contains guidelines to be followed carefully in order to write a proper epic. First, the poem’s theme or purpose must be stated. Invocation of a muse follows, praising her and asking for aid in writing the poem. Muses were the daughters of Zeus, Calliope being the music of epic poetry. Once the muse is invoked, one must begin the poem <em>in medias res, </em>or “in the middle of things.” Epic poems always begin the tale of whatever is going on after it has been going on for quite some time. Earlier events of the story are then told in flashbacks. The past events then provide a layout of the events occurring in the poem. The poem must center itself around a heroic figure, often personifying the ideals and moral ethics of the culture of his society.  The hero often utilizes the aid of the divine and supernatural, associating himself with the quarrels of the gods. It is typical of epics to present war and the theme of death and mortality. In this time period, humanism and realism were topics of interest among the intellectuals and scholars. The theories of life, death and purpose were discussed in treatises and teachings as well as art and poetry throughout the ages of early Greek civilization.\r\n\r\nThe Iliad is considered the most war-glorifying epic poem to date. Homer spares no horrific or graphic details in describing the tragedies and realities of warfare. It shows the harsh ironies of war. The destructive enterprise is in fact an intriguing and intensely creative activity. The careful practice of combat arts and the creative design of weaponry from great artistic skill, are all for the slaughter of man. Homer shows that war is all at the same time gory, horrific, tragic, realistic, intense and beautiful. He provides both aspects of war and takes no sides on attempting to moralize the activity.\r\n\r\nThe Iliad was extremely influential on Greek culture. It was the closest thing they had to a holy text.  It helped to create a sense of virtue as a constant struggle to exert peak human excellence in all forms. These traditional virtues became very important in the writings of thinkers like Aristotle. The Iliad also had a profound influence on Greek and Roman writers, such as Virgil and Ovid, and inspiration to the arts for generations. Paintings and sculptures were modeled after people and events described by Homer. It possibly made the Trojan War the single most important event in Greek literature and tradition.\r\n\r\nIn modern times, the work is taken as a mythological tale of heroism that serves as nothing more than a fictional story of epic proportions to convey a theme of mortality, divine virtue and human excellence. Compared to cotemporary religions, the polytheistic pagan views of the ancient Greeks as outlined by Homer are outdated and serve as a foundation to later religions. According to modern scholars, the stories of the epic had to have been passed down orally many times before being written down. Each orator added his own touch and detail to the story over generations, creating a lengthy and detailed story before being written down and credited to a still uncertain author.\r\n\r\nThe Iliad is no unlike the Odyssey, another epic poem by Homer. It centralizes around a single heroic character on a mission. Unlike the Iliad, however, <em>the Odyssey </em>focuses more on motives such as love of family and homeland. The journey of Odysseus is his attempt to regain those things dearest to him, and to return home safely. The underlying themes of the Iliad are war and death, along with the constant competitive struggle of the epic hero. The underlying themes of the Odyssey are that of cunning and wit, not strength and endurance. The Odyssey is a compliment to the Iliad, which is the story of Odysseus’ long, arduous travels home. He encounters many obstacles and setbacks, using his cunning and wit to fool even the toughest of foes. Although supposedly written by the same blind bard, the two epics differ in mood and tone entirely. Some historians go as far as saying that the Odyssey was written by a different poet completely, merely to compliment the Iliad with a surreal tale of heroic travels. It is said that the Odyssey was written in Homer’s later years, when he was less concerned with the dealings of death and mortality in the form of brutal war, and more interested in hospitality and the natural beauty of the landscape he so adamantly describes.\r\n\r\nFuture generations can learn a lot from the text of the <em>Iliad. </em>Homer\'s unbiased dedication to the brutality of war can say a lot about the wars we have today. The heroic endeavors of Achilles encompass an ideal ethical portrayal of the motives and ancient society, not unlike those of today. Pagan religion, such as Zeus and all the gods of the Pantheon can be said to be a basis of religions we have today, although very disconnected and primitive. It is very interesting to read about the thoughts, motives and morals of society who lived thousands and thousands of years before our time. It is truly something to learn from and think about in our modern society.\r\n\r\n<em>Cultural Influences</em>\r\n\r\nEven today, the <em>Iliad</em> still makes itself and it\'s story known to us, like the movie Troy. There are some major and minor differences between the original epic and  the Hollywood interpretation. For instance, the war took seventeen days in the movie, when in reality it lasted closer to ten years. In the movie, Patroklus was cousin to Achilles and younger than him. From the <em>Iliad, </em>Patroklus was neither cousin to Achilles nor older than him, he was just Achilles\' favorite warrior whom he loved very much. Despite few differences, the movie still serves to portray the long-lived poem and is entertaining nonetheless. Also from the stories of the Trojan War comes the tale of the Trojan Horse, which is a term we now use today to describe a vicious computer virus. The <em>Iliad </em>is and will always be a timeless piece of literature, and therefore should be included in the time capsule.\r\n\r\nWorks cited:\r\n\r\nJohnston, Ian. \"The Iliad (abridged).\" <em>Www.naxosaudiobooks.com</em>. Naxos. Web. 19 Feb. 2011. &lt;http://www.naxosaudiobooks.com/445812.htm&gt;.\r\n\r\nTherese. \"Iliad vs the Odyssey.\" <em>Inklings</em>. Web. 21 Feb. 2011. &lt;http://sesquipadalianmusings.blogspot.com/2007/10/iliad-vs-odyssey.html&gt;.\r\n\r\nHomer, and I. A. Richards. <em>The Wrath of Achilles: the Iliad of Homer</em>. London: Routledge &amp; K. Paul, 1951. Print.\r\n\r\nBloom, Harold. <em>Homer\'s The Iliad</em>. New York: Chelsea House, 1987. Print.\r\n\r\nJohnston, Ian C. <em>The Ironies of War: an Introduction to Homer\'s Iliad</em>. Lanham, MD: University of America, 1988. Print.\r\n\r\n\"SparkNotes: The Iliad: Context.\" <em>SparkNotes: Today\'s Most Popular Study Guides</em>. Web. 21 Feb. 2011. &lt;http://www.sparknotes.com/lit/iliad/context.html&gt;.','Homer\'s Iliad','','inherit','open','open','','396-revision-5','','','2011-02-21 18:27:08','2011-02-22 00:27:08','',396,'http://jeanatacc.com/2011/?p=451',0,'revision','',0),(488,10,'2011-02-21 18:45:38','2011-02-22 00:45:38','<em>Homer\'s Iliad</em> is an epic poem written in the classical antiquity time period, approximately 850-800 B.C. It is typically credited to a blind poet named Homer. The time of Homer\'s existence is still disputed today. Herodotus suggested that Homer lived about 400 years prior to his time, which was around 400 B.C, placing Homer around the 9th century B.C. Other scholars date Homer much closer to the actual events of the Trojan War, around 11oo B.C. This ancient work of literature should be preserved in the time capsule because it is one of the most important texts in Greek history and gives us insight on the theological and social views of the Hellenistic time period. Much of our information about the Trojan War and mythological tales of the gods are preserved in the text of <em>Homer\'s Iliad.</em>\r\n\r\n<em><!--more--></em>\r\n\r\nThe Iliad chronicles a short period of time in the ten-year war between the Greeks and the Trojans. The poem focuses on Homer’s epic hero, swift-footed Achilles. The poem starts off nine years into the war, describing the Greeks sacking a Trojan village, where Achilles takes Briseis as his prize, and Agamemnon, commander of the Achaean army, takes Chrysies. Chryses pleads with Agamemnon to return his daughter, but is only refused. With no luck, Chryses prays to the god Apollo for help, who brings plague upon the Greeks. Achilles then summons the aid of a soothsayer, Calchas, to reveal the cause of the plague. When they find that it was sent by Chryses and Apollo, Agamemnon becomes enraged, saying that he will only return Chrysies if he gets Briseis as his prize. This creates conflict between Agamemnon and one of his greatest warriors, swift-footed Achilles (SparkNotes:Iliad).\r\n\r\nThe Iliad concerns itself with the rage of mortals and the intervention of the gods with the mortals during war. The gods associate themselves with mortal affairs in two ways. In one way, they act as external forces on the events of man, like when Apollo sends the plague upon the Achaean army. In the second way, they interact internally with the mortals, such as when Athena prevents Achilles from abandoning reason, and persuades him to use words against Agamemnon, instead of violence. While the gods play a vital role in the clockwork of life, death and war, they also provide another function, sort of a satirical comic relief.  The conflicts and squabbles between the gods often seem humorously petty and ridiculous in comparison to the serious death and destruction that is occurring below.\r\n\r\nThe epic was a masterpiece of its time, concerning the moral values and ethics of the Hellenistic people of ancient Greece.  In this time, mythological gods and heroes dominated the religious sector of Greek society. Along with art and music of the Hellenistic and Homeric period, literature often incorporated mythological figures, like Zeus and Athena, who regarded as supreme gods of the Greek realm, and were celebrated as such through sculptures, paintings and epic poems. Before the Iliad, no epic poem had concerned itself so much with divine intervention and the dealings and interactions of mortals and the gods (I. A. Richards 50). The work itself seems to celebrate war. In that, it presents its characters as worthy or cowardice as a degree depending on their competence and bravery in battle.  With its constant gory battles and brutal death, it sets up a mood of intensity with a touch of taking things way too seriously.\r\n\r\nThe poem is written in dactylic hexameter, a style often attributed to Homer. During his time, epics were performed orally, often aided by a lyre or some other kind of instrument. An epic poem contains guidelines to be followed carefully in order to write a proper epic. First, the poem’s theme or purpose must be stated. Invocation of a muse follows, praising her and asking for aid in writing the poem. Muses were the daughters of Zeus, Calliope being the music of epic poetry. Once the muse is invoked, one must begin the poem <em>in medias res, </em>or “in the middle of things\" (Bloom 117). Epic poems always begin the tale of whatever is going on after it has been going on for quite some time. Earlier events of the story are then told in flashbacks. The past events then provide a layout of the events occurring in the poem. The poem must center itself around a heroic figure, often personifying the ideals and moral ethics of the culture of his society.  The hero often utilizes the aid of the divine and supernatural, associating himself with the quarrels of the gods. It is typical of epics to present war and the theme of death and mortality. In this time period, humanism and realism were topics of interest among the intellectuals and scholars. The theories of life, death and purpose were discussed in treatises and teachings as well as art and poetry throughout the ages of early Greek civilization.\r\n\r\nThe Iliad is considered the most war-glorifying epic poem to date. Homer spares no horrific or graphic details in describing the tragedies and realities of warfare. It shows the harsh ironies of war. The destructive enterprise is in fact an intriguing and intensely creative activity. The careful practice of combat arts and the creative design of weaponry from great artistic skill, are all for the slaughter of man. Homer shows that war is all at the same time gory, horrific, tragic, realistic, intense and beautiful. He provides both aspects of war and takes no sides on attempting to moralize the activity.\r\n\r\nThe Iliad was extremely influential on Greek culture. It was the closest thing they had to a holy text.  It helped to create a sense of virtue as a constant struggle to exert peak human excellence in all forms (Johnston p. 5). These traditional virtues became very important in the writings of thinkers like Aristotle. The Iliad also had a profound influence on Greek and Roman writers, such as Virgil and Ovid, and inspiration to the arts for generations. Paintings and sculptures were modeled after people and events described by Homer. It possibly made the Trojan War the single most important event in Greek literature and tradition.\r\n\r\nIn modern times, the work is taken as a mythological tale of heroism that serves as nothing more than a fictional story of epic proportions to convey a theme of mortality, divine virtue and human excellence. Compared to cotemporary religions, the polytheistic pagan views of the ancient Greeks as outlined by Homer are outdated and serve as a foundation to later religions. According to modern scholars, the stories of the epic had to have been passed down orally many times before being written down. Each orator added his own touch and detail to the story over generations, creating a lengthy and detailed story before being written down and credited to a still uncertain author. This is only a theory considering that, although the poem is credited to being written by Homer and orally performed by him and others until written down sometime in the 5th century, it is still unknown for sure the exact origins of the story.\r\n\r\nThe Iliad is no unlike the Odyssey, another epic poem by Homer. It centralizes around a single heroic character on a mission. Unlike the Iliad, however, <em>the Odyssey </em>focuses more on motives such as love of family and homeland (Therese p. 3). The journey of Odysseus is his attempt to regain those things dearest to him, and to return home safely (Therese). The underlying themes of the Iliad are war and death, along with the constant competitive struggle of the epic hero. The underlying themes of the Odyssey are that of cunning and wit, not strength and endurance. The Odyssey is a compliment to the Iliad, which is the story of Odysseus’ long, arduous travels home. He encounters many obstacles and setbacks, using his cunning and wit to fool even the toughest of foes (Therese 4). Although supposedly written by the same blind bard, the two epics differ in mood and tone entirely. Some historians go as far as saying that the Odyssey was written by a different poet completely, merely to compliment the Iliad with a surreal tale of heroic travels. It is said that the Odyssey was written in Homer’s later years, when he was less concerned with the dealings of death and mortality in the form of brutal war, and more interested in hospitality and the natural beauty of the landscape he so adamantly describes.\r\n\r\nFuture generations can learn a lot from the text of the <em>Iliad. </em>Homer\'s unbiased dedication to the brutality of war can say a lot about the wars we have today. The heroic endeavors of Achilles encompass an ideal ethical portrayal of the motives and ancient society, not unlike those of today. Pagan religion, such as Zeus and all the gods of the Pantheon can be said to be a basis of religions we have today, although very disconnected and primitive. It is very interesting to read about the thoughts, motives and morals of society who lived thousands and thousands of years before our time. It is truly something to learn from and think about in our modern society.\r\n\r\n<em>Cultural Influences</em>\r\n\r\nEven today, the <em>Iliad</em> still makes itself and it\'s story known to us, like the movie Troy. There are some major and minor differences between the original epic and  the Hollywood interpretation. For instance, the war took seventeen days in the movie, when in reality it lasted closer to ten years. In the movie, Patroklus was cousin to Achilles and younger than him. From the <em>Iliad, </em>Patroklus was neither cousin to Achilles nor older than him, he was just Achilles\' favorite warrior whom he loved very much. Despite few differences, the movie still serves to portray the long-lived poem and is entertaining nonetheless. Also from the stories of the Trojan War comes the tale of the Trojan Horse, which is a term we now use today to describe a vicious computer virus. The <em>Iliad </em>is and will always be a timeless piece of literature, and therefore should be included in the time capsule.\r\n\r\nWorks cited:\r\n\r\nJohnston, Ian. \"The Iliad (abridged).\" <em>Www.naxosaudiobooks.com</em>. Naxos. Web. 19 Feb. 2011. &lt;http://www.naxosaudiobooks.com/445812.htm&gt;.\r\n\r\nTherese. \"Iliad vs the Odyssey.\" <em>Inklings</em>. Web. 21 Feb. 2011. &lt;http://sesquipadalianmusings.blogspot.com/2007/10/iliad-vs-odyssey.html&gt;.\r\n\r\nHomer, and I. A. Richards. <em>The Wrath of Achilles: the Iliad of Homer</em>. London: Routledge &amp; K. Paul, 1951. Print.\r\n\r\nBloom, Harold. <em>Homer\'s The Iliad</em>. New York: Chelsea House, 1987. Print.\r\n\r\nJohnston, Ian C. <em>The Ironies of War: an Introduction to Homer\'s Iliad</em>. Lanham, MD: University of America, 1988. Print.\r\n\r\n\"SparkNotes: The Iliad: Context.\" <em>SparkNotes: Today\'s Most Popular Study Guides</em>. Web. 21 Feb. 2011. &lt;http://www.sparknotes.com/lit/iliad/context.html&gt;.','Homer\'s Iliad','','inherit','open','open','','396-revision-7','','','2011-02-21 18:45:38','2011-02-22 00:45:38','',396,'http://jeanatacc.com/2011/?p=488',0,'revision','',0),(452,10,'2011-02-21 18:39:13','2011-02-22 00:39:13','<em>Homer\'s Iliad</em> is an epic poem written in the classical antiquity time period, approximately 850-800 B.C. It is typically credited to a blind poet named Homer. The time of Homer\'s existence is still disputed today. Herodotus suggested that Homer lived about 400 years prior to his time, which was around 400 B.C, placing Homer around the 9th century B.C. Other scholars date Homer much closer to the actual events of the Trojan War, around 11oo B.C. This ancient work of literature should be preserved in the time capsule because it is one of the most important texts in Greek history and gives us insight on the theological and social views of the Hellenistic time period. Much of our information about the Trojan War and mythological tales of the gods are preserved in the text of <em>Homer\'s Iliad.</em>\r\n\r\n<em><!--more--></em>\r\n\r\nThe Iliad chronicles a short period of time in the ten-year war between the Greeks and the Trojans. The poem focuses on Homer’s epic hero, swift-footed Achilles. The poem starts off nine years into the war, describing the Greeks sacking a Trojan village, where Achilles takes Briseis as his prize, and Agamemnon, commander of the Achaean army, takes Chrysies. Chryses pleads with Agamemnon to return his daughter, but is only refused. With no luck, Chryses prays to the god Apollo for help, who brings plague upon the Greeks. Achilles then summons the aid of a soothsayer, Calchas, to reveal the cause of the plague. When they find that it was sent by Chryses and Apollo, Agamemnon becomes enraged, saying that he will only return Chrysies if he gets Briseis as his prize. This creates conflict between Agamemnon and one of his greatest warriors, swift-footed Achilles (SparkNotes:Iliad).\r\n\r\nThe Iliad concerns itself with the rage of mortals and the intervention of the gods with the mortals during war. The gods associate themselves with mortal affairs in two ways. In one way, they act as external forces on the events of man, like when Apollo sends the plague upon the Achaean army. In the second way, they interact internally with the mortals, such as when Athena prevents Achilles from abandoning reason, and persuades him to use words against Agamemnon, instead of violence. While the gods play a vital role in the clockwork and life, death and war, they also provide another function, sort of a satirical comic relief.  The conflicts and squabbles between the gods often seem humorously petty and ridiculous in comparison to the serious death and destruction that is occurring below.\r\n\r\nThe epic was a masterpiece of its time, concerning the moral values and ethics of the Hellenistic people of ancient Greece.  In this time, mythological gods and heroes dominated the religious sector of Greek society. Along with art and music of the Hellenistic and Homeric period, literature often incorporated mythological figures, like Zeus and Athena, who regarded as supreme gods of the Greek realm, and were celebrated as such through sculptures, paintings and epic poems. Before the Iliad, no epic poem had concerned itself so much with divine intervention and the dealings and interactions of mortals and the gods (I. A. Richards 50). The work itself seems to celebrate war. In that, it presents its characters as worthy or cowardice as a degree depending on their competence and bravery in battle.  With its constant gory battles and mortal death, it sets up a mood of intensity with a touch of taking things way too seriously.\r\n\r\nThe poem is written in dactylic hexameter, a style often attributed to Homer. During his time, epics were performed orally, often aided by a lyre or some other kind of instrument. An epic poem contains guidelines to be followed carefully in order to write a proper epic. First, the poem’s theme or purpose must be stated. Invocation of a muse follows, praising her and asking for aid in writing the poem. Muses were the daughters of Zeus, Calliope being the music of epic poetry. Once the muse is invoked, one must begin the poem <em>in medias res, </em>or “in the middle of things\" (Bloom 117). Epic poems always begin the tale of whatever is going on after it has been going on for quite some time. Earlier events of the story are then told in flashbacks. The past events then provide a layout of the events occurring in the poem. The poem must center itself around a heroic figure, often personifying the ideals and moral ethics of the culture of his society.  The hero often utilizes the aid of the divine and supernatural, associating himself with the quarrels of the gods. It is typical of epics to present war and the theme of death and mortality. In this time period, humanism and realism were topics of interest among the intellectuals and scholars. The theories of life, death and purpose were discussed in treatises and teachings as well as art and poetry throughout the ages of early Greek civilization.\r\n\r\nThe Iliad is considered the most war-glorifying epic poem to date. Homer spares no horrific or graphic details in describing the tragedies and realities of warfare. It shows the harsh ironies of war. The destructive enterprise is in fact an intriguing and intensely creative activity. The careful practice of combat arts and the creative design of weaponry from great artistic skill, are all for the slaughter of man. Homer shows that war is all at the same time gory, horrific, tragic, realistic, intense and beautiful. He provides both aspects of war and takes no sides on attempting to moralize the activity.\r\n\r\nThe Iliad was extremely influential on Greek culture. It was the closest thing they had to a holy text.  It helped to create a sense of virtue as a constant struggle to exert peak human excellence in all forms (Johnston p. 5). These traditional virtues became very important in the writings of thinkers like Aristotle. The Iliad also had a profound influence on Greek and Roman writers, such as Virgil and Ovid, and inspiration to the arts for generations. Paintings and sculptures were modeled after people and events described by Homer. It possibly made the Trojan War the single most important event in Greek literature and tradition.\r\n\r\nIn modern times, the work is taken as a mythological tale of heroism that serves as nothing more than a fictional story of epic proportions to convey a theme of mortality, divine virtue and human excellence. Compared to cotemporary religions, the polytheistic pagan views of the ancient Greeks as outlined by Homer are outdated and serve as a foundation to later religions. According to modern scholars, the stories of the epic had to have been passed down orally many times before being written down. Each orator added his own touch and detail to the story over generations, creating a lengthy and detailed story before being written down and credited to a still uncertain author.\r\n\r\nThe Iliad is no unlike the Odyssey, another epic poem by Homer. It centralizes around a single heroic character on a mission. Unlike the Iliad, however, <em>the Odyssey </em>focuses more on motives such as love of family and homeland (Therese p. 3). The journey of Odysseus is his attempt to regain those things dearest to him, and to return home safely (Therese). The underlying themes of the Iliad are war and death, along with the constant competitive struggle of the epic hero. The underlying themes of the Odyssey are that of cunning and wit, not strength and endurance. The Odyssey is a compliment to the Iliad, which is the story of Odysseus’ long, arduous travels home. He encounters many obstacles and setbacks, using his cunning and wit to fool even the toughest of foes (Therese 4). Although supposedly written by the same blind bard, the two epics differ in mood and tone entirely. Some historians go as far as saying that the Odyssey was written by a different poet completely, merely to compliment the Iliad with a surreal tale of heroic travels. It is said that the Odyssey was written in Homer’s later years, when he was less concerned with the dealings of death and mortality in the form of brutal war, and more interested in hospitality and the natural beauty of the landscape he so adamantly describes.\r\n\r\nFuture generations can learn a lot from the text of the <em>Iliad. </em>Homer\'s unbiased dedication to the brutality of war can say a lot about the wars we have today. The heroic endeavors of Achilles encompass an ideal ethical portrayal of the motives and ancient society, not unlike those of today. Pagan religion, such as Zeus and all the gods of the Pantheon can be said to be a basis of religions we have today, although very disconnected and primitive. It is very interesting to read about the thoughts, motives and morals of society who lived thousands and thousands of years before our time. It is truly something to learn from and think about in our modern society.\r\n\r\n<em>Cultural Influences</em>\r\n\r\nEven today, the <em>Iliad</em> still makes itself and it\'s story known to us, like the movie Troy. There are some major and minor differences between the original epic and  the Hollywood interpretation. For instance, the war took seventeen days in the movie, when in reality it lasted closer to ten years. In the movie, Patroklus was cousin to Achilles and younger than him. From the <em>Iliad, </em>Patroklus was neither cousin to Achilles nor older than him, he was just Achilles\' favorite warrior whom he loved very much. Despite few differences, the movie still serves to portray the long-lived poem and is entertaining nonetheless. Also from the stories of the Trojan War comes the tale of the Trojan Horse, which is a term we now use today to describe a vicious computer virus. The <em>Iliad </em>is and will always be a timeless piece of literature, and therefore should be included in the time capsule.\r\n\r\nWorks cited:\r\n\r\nJohnston, Ian. \"The Iliad (abridged).\" <em>Www.naxosaudiobooks.com</em>. Naxos. Web. 19 Feb. 2011. &lt;http://www.naxosaudiobooks.com/445812.htm&gt;.\r\n\r\nTherese. \"Iliad vs the Odyssey.\" <em>Inklings</em>. Web. 21 Feb. 2011. &lt;http://sesquipadalianmusings.blogspot.com/2007/10/iliad-vs-odyssey.html&gt;.\r\n\r\nHomer, and I. A. Richards. <em>The Wrath of Achilles: the Iliad of Homer</em>. London: Routledge &amp; K. Paul, 1951. Print.\r\n\r\nBloom, Harold. <em>Homer\'s The Iliad</em>. New York: Chelsea House, 1987. Print.\r\n\r\nJohnston, Ian C. <em>The Ironies of War: an Introduction to Homer\'s Iliad</em>. Lanham, MD: University of America, 1988. Print.\r\n\r\n\"SparkNotes: The Iliad: Context.\" <em>SparkNotes: Today\'s Most Popular Study Guides</em>. Web. 21 Feb. 2011. &lt;http://www.sparknotes.com/lit/iliad/context.html&gt;.','Homer\'s Iliad','','inherit','open','open','','396-revision-6','','','2011-02-21 18:39:13','2011-02-22 00:39:13','',396,'http://jeanatacc.com/2011/?p=452',0,'revision','',0),(453,16,'2011-02-21 16:49:45','2011-02-21 22:49:45','<div>\r\n<div>Although there were many ancient epic poems throughout history, The Epic of Gilgamesh is by far the oldest known epic poem and is one of the oldest surviving text in the world. The surviving version of the epic is written in Akkadian, but was originally told orally in the ancient Sumerian language (“Ancient Religions”). It is a mythical account and symbolic account of an actual Sumerian king, Gilgamesh, in search for immortality.</div>\r\n<!--more-->\r\n<div>The epic embodies the values and ideals of the predominate culture at the time. The Epic also takes place in the same time period as the Great Flood similar to the story of Noah in the Genesis (“Ancient Religions”). The main theme of the poem centers around death and the value of life. The main character, Gilgamesh, was a Sumerian king that lived around 2700 BCE in the area known today as modern Iraq (“Ancient Religions”). In the epic, he is depicted as an arrogant, ruthless, and powerful king who is of divine birth. His mother was a goddess and his father was a human, which makes him a demigod. Gilgamesh fell disfavor with the gods who decided to punish him. They sent Enkidu, a wild man the gods had created to kill Gilgamesh. Gilgamesh and Enkidu encounter each other and fight furiously until Gilgamesh finally wins. Enkidu submits. The two become good friends as they journey together through dangerous quests. Later on, Enkidu dies after the gods decided to inflict his death. Distressed by the death of his close friend, Gilgamesh begins a quest in search of immortality. He finds the immortal man who survived the Great Flood, Utnapishtim, who tests Gilgamesh to prove to him his irreversible fate of human mortality. Gilgamesh fails. Utapishtim’s wife, witnessing Gilgamesh’s disappointment, convinces her husband to be merciful. Utnapishtim then tells Gilgamesh of a plant that can restore youth. Gilgamesh obtains the plant and plans to share it with all the old men. A snake then steals and eats the plant. Gilgamesh comes back empty-handed and finally reconciled with his fate of morality. When he finally returns, he contributes great achievements to his people.</div>\r\n<BR>\r\n<div>The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE (“The Epic”). The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE (“The Epic”). The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on wet clay with a stylus made out of bone or reed material to engrave characters or ideographs (“The Epic”). Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time.</div>\r\n<BR>\r\n<div>The Epic of Gilgamesh was typical for it’s time in that it included supernatural aspects and religion to explain events and ideas. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, otherwise called the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and is considered as sacred writing. History and legends were recorded in cuneiform such as the Enuma Elish (“The Epic”), otherwise known as “the Babylonian Creation myth”, which another work that was also as important and similar to the Epic of Gilgamesh. Both works tell of historical people or events that happened in a mythological context. Both the Epic of Gilgamesh and the Enuma Elish are sacred texts that also tell of historical events and a very symbolic and religious manner (Fiero). The Babylonian Creation Myth, for example, portrays the creation of the world, in which the young god, Marduk, slays the mother dragon, Taimat, depicting the transition from a Matriarchy to Patriarchy (Fiero). They also portray the polytheistic nature of Mesopotamian religions, which were the oldest known religions, giving us insight to the way the ancient people saw the world. Compared to today, the people of Mesopotamia had little entertainment. Listening to ancient lore was one of the few entertainments the people had back then. The Epic of Gilgamesh was appreciated in that it was not only a source of entertainment, but also a sacred work of literature that’ reflects their culture and beliefs. It was one of the many things that defined them as a people.</div>\r\n<BR><div>Although The Epic of Gilgamesh was written many millennia ago, it is still enjoyed, studied, and passed on throughout the generations. The fact that it was written and translated from Sumerian to Akkadian (“World Religions”), one can infer that it was well received by the people of Mesopotamia. There were also many versions of the epic it scattered throughout the region (Sanders). The Epic of Gilgamesh portrays heroic exploits of that time, philosophical teachings, and world views about life. The Epic of Gilgamesh is still widely received today as it is still being translated and interpreted as a classic with many themes pertaining to friendship, life and death, eternal life, and “the process by which human beings become mature, moving from innocent and reckless adolescence to the awareness of values that are more real, though less apparent” (Pettinato) . It is being studied in high schools and colleges as part of literary education. It is currently still being printed in textbooks and encyclopedias. Many students of literature write essays about the Epic of Gilgamesh.</div><BR>\r\n<div>Although the epic is still widely known today, the reception is not the same as it was back in it’s time due to cultural context and translation. The Sumerian language, which is the language the Epic of Gilgamesh is told, is almost obsolete if not extinct in this modern age. Yet, the character of Gilgamesh remains legendary, an inspirational figure that is often referenced in many modern works and popular culture today.</div>\r\n<BR>\r\n<div>I found the Epic of Gilgamesh to be meditative and meaningful in that it tackles a concept that is still relevant in our civilization today. Despite all the scientific discoveries and technological advances in medicine and other life-prolonging sciences, all human beings face death, which many today have trouble coming to terms with. The epic addresses growth and decay. For example, a relevant situation in today’s world can been seen in the brotherly relationship between Enkidu and Gilgamesh. Although both grow very close, not even friendship can overcome death, illustrating the temporal quality of many things in life. Things like love, friendship are all temporary. Things change over time, and people and places tend to disappear and one must learn to come to terms with it.</div>\r\n<BR>\r\n<div>What is most significant about this work is the cultural similarities and differences between ancient Mesopotamia and today’s culture. Throughout all cultures and time, all people had to cope with the idea of death, which is still something relevant today although today’s knowledge, technology, and science allows us to understand the world around us and also to bypass things that were once really dire back then. Yet still, all things are temporary and one cannot completely alter the laws of nature.</div>\r\n<BR>\r\n<div>It portrays values that were important at the time compared to the values we hold today. Such as how in the end of the epic, Gilgamesh dies. Although he is dead, he is still remembered as a great king who’s lasting achievements are valued and are significant in contribution to humanity for generations, which the epic implies is closest thing to immortality that human beings can achieve. Contributing to humanity in a positive manner is the one thing that future generations should aspire to.</div>\r\n</div>\r\n<BR><BR>\r\n<div>\r\n<div style=\"text-align: center\">Works Cited:</div>\r\n<BR>\r\n<div>\"Ancient Religions of Egypt and Mesopotamia.\" World Religions Reference Library. Ed. Julie L. Carnagie, <span> </span>et al. Vol. 1: Almanac. Detroit: UXL, 2007. 37-67. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Fiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.</div>\r\n<BR>\r\n<div>Pettinato, Giovanni. \"Gilgamesh.\" Encyclopedia of Religion. Ed. Lindsay Jones. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2005. 3486-3489. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Sandars, N.K. \"Epic of Gilgamesh.\" Reference Guide to World Literature. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1246-1247. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>\"The Epic of Gilgamesh.\" World Religions Reference Library. Ed. Julie L. Carnagie, et al. Vol. 5: Primary <span> </span>Sources. Detroit: UXL, 2007. 61-72. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n<BR>\r\n<div>Westwood, Jennifer. \"Gilgamesh.\" Macmillan Encyclopedia of Death and Dying. Ed. Robert Kastenbaum. Vol. 1. New York: Macmillan Reference USA, 2002. 331-334. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div>\r\n</div>','The Epic of Gilgamesh','','inherit','open','open','','424-revision-19','','','2011-02-21 16:49:45','2011-02-21 22:49:45','',424,'http://jeanatacc.com/2011/?p=453',0,'revision','',0),(454,9,'2011-02-24 13:56:11','2011-02-24 19:56:11','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\r\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\r\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\r\nConsidered one of the great tragedians of ancient Greece, Sophocles (496-406 B.C.E.) produced his most famed and influential play, ‘Oedipus the King.’  Introduced to Greek drama around 430 B.C., ‘Oedipus the King’ became Sophocles’ greatest achievement, creating a new style of tragedy to theatrical performances, setting the stage for psychological theories, and providing an illustrious description of Athenian society for us today.   <!--more-->“Aristotle cites it as the most brilliant example of theatrical plot, the model for all to follow…” (qtd in Knox 28).  As the second of Sophocles’ three Theban plays, it set the groundwork for dramatic action between the individual and fate.  Throughout history, theatrical performances have developed in various forms; and without Sophocles’ influence in dramatic tragedy, these forms may not exist today.  ‘Oedipus the King’ brought about entertainment and a true tragic hero to the Greek audience with its skillful construction, thus it should be saved for future generations to understand how theatre developed into how it is presented today.\r\n\r\nOur tragedy begins when the citizens of Thebes come to their beloved ruler with cries of help to relieve them of a deadly plague. Oedipus is then informed by the Delphic oracle that the murderer of King Laius must first be punished for the city to be cured.  Oedipus, quickly blaming others, investigates and sets a curse on the murderer, unknowingly cursing himself (Brockett 71).  We soon discover that before Oedipus became king, he had solved the Sphynx’s riddle, thus rescuing the city of Thebes and rewarded the widowed queen, Jocasta.  He had come to meet the Sphynx on his journey away from home, to prevent the prophecy of killing his father and marrying his mother.  The plot thickens when we learn that Oedipus was not born of the parents he had believed to be from and that his actual parents, the king and the queen of Thebes, also tried to escape their fate by abandoning their son.  From “obsessive reconstruction of his own hidden past,” Oedipus learns that he did indeed kill his father on his journey to Thebes, unfortunately fulfilling the prophecy, and blinding himself for self-punishment (Sophocles).  The tragedy builds emotion and empathy of the character as it draws the audience, scene-by-scene, to the hidden past and the ultimate truth.\r\n\r\n“Oedipus the King” is uniquely structured around the characters where we find Oedipus as a tragic hero.  As the play progresses, the audience, as well as Oedipus, travel back in time and learn that it was he who killed his father, King Laius, and married his mother, becoming both brother and father to his children.  Sophocles organizes his play by developing the themes of: “uncertainty of human destiny” and “the limited ability of human beings to control their fate” (Brockett 74).  Oedipus becomes this tragic hero, because although he is seemingly tied down to his unfortunate destiny, his character is completely free through his actions of arriving upon his own doom.  At the beginning of the play, he calls for the punishment and dishonor of the murderer, and the play finishes off with him fulfilling the prophecy and the promise to the city by sticking needles in his eyes.  “In him, Sophocles achieved one of the enduring definitions of the tragic hero—that of a man for whom the liberation of the self is a necessity” (Tragedy).  Oedipus finds greater intent for the safety of his people, despite his unintentional sin.  The unique formality of the play introduces to the theatre world a creative style enveloping the character instead of the plot thus proving to have been beneficial to the production of theatre today and for the future.\r\n\r\nCountless stories have been passed down through generations and generations, generally by word of mouth.  Theatre as a means of presenting oneself to an audience, however, dates back, in the Western world, in ancient Greece.  During this period, Greek drama was developed to address the relationship between the individual, the community, and the gods (Fiero).  The performances of the plays that consisted of tragedies and comedies occurred during the festivals of Dionysus, god of fertility and wine.  Among the greatest playwrights of ancient Greece and history, Sophocles performed and competed at these festivals and made his name with the production of “Oedipus the King”.  Also, during this time, like most of history, men had a strong hold in the society where women and slaves had virtually no voice (Brockett 61).  Usually, young boys would play the woman’s role in the play.  In the festivals, there were generally only three actors who spoke, therefore the same actor may have played several roles for a play (67).  Social discrimination has been evident throughout history, limiting many forms of art and expression.  It is interesting to see how much has changed since then and how much hasn’t.  Finally, being affected by the war, a deadly plague continuously struck the city of Athens, causing the Athenians to look to the gods (Knox).  “Oedipus the King” illustrates the similarities of the Athenian people so the audience can empathize with the characters in the play.\r\n\r\n“Oedipus the King” was a play typical of its era by presenting dramatic action in the form of tragedy.  During this time, the Athenians worshipped many gods and even built theatres surrounding an altar.  Much of Greek tragedy “emphasized the attempts of human characters to control their own destinies” (Brockett).  Oedipus, along with Jocasta and the king, attempted to escape the will of the gods which ultimately lead to their doom.  Also, during this period, choruses were used during performances to comment and summarize the events of the play to the audience.  Sophocles uses this to structurally divide his scenes that were performed by three male actors.  By producing a strong-willed character, Sophocles creates a tragic hero with the downfall of Oedipus, one of the many tragic heroes created during the beginning of Greek drama.\r\n\r\nBecause of Sophocles’ unusual and innovative style that stood out from the other great tragedian playwrights of his time, “Oedipus the King” is still considered one of the greatest tragedies today.  Sophocles lengthens the resolution scene of the play focusing on how Oedipus deals with the knowledge of the truth (Brockett 73).  Instead of concentrating on the actions that Oedipus takes to find the truth, Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).  The audience thus becomes involved with the questions to follow up Oedipus’ discovery of the truth, drawing in more attention to psychological and moral attributes rather than physicality.\r\n\r\nDuring the period of ancient Greek theatre, plays were presented to the whole community, aside from women and slaves, for entertainment and ritualistic purposes.  Sophocles brought reality to the stage in his production of “Oedipus the King,” so that the Athenians were able to view themselves on a contemporary perspective (Knox 30).  Not only was the plague at the beginning of the play relevant to the time period in Athens, but also the characterization of Oedipus himself.  According to Knox, Oedipus portrays many similar Athenian qualities that Sophocles displays on stage.  Oedipus is characterized to be swift in taking action, prideful of intelligence, and dedicated to his city, all known qualities of the Athenians announced by Pericles and the Corinthians (30).  With the performances as a ritualistic offering to the gods, they also were “expressions of civic pride—indications of the cultural superiority of Athens over the other Greek states” (Brockett 62).  Athen’s pride is evident in Greek theatre and Sophocles presented it to his audience.  Knox, in his review of the play, comments, “Oedipus the King is a dramatic embodiment of the creative vigor and intellectual daring of the fifth-century Athenian spirit” (qtd in Knox 30). As the festivals of Dionysus increasingly became more popular with the community, Sophocles was acclaimed for his play “Oedipus the King” that is still acknowledged today.\r\n\r\nToday, “Oedipus the King” still brings in an audience for stage performances, but more importantly, analysis of the play itself and its correspondence to the human mind brings interest to psychologists and theorists around the world.  The riddle of the Sphynx introduced the idea of the “Life Cycle” we use today.  When Oedipus solves the riddle: “What has one voice, four-footed, two-footed, and three-footed?” –we learn that it is in fact “Man”.  This riddle alludes to the human as primarily and infant (four-footed), then an adult (two-footed), and ultimately a man of old age (three-footed).  “It describes inevitable physiological changes that are readily observable in humans as in all living things, but it also suggests that one ought to move through life in a certain prescribed manner” (qtd. in Weismantel 1283).\r\n\r\nIn the 20<sup>th</sup> century, Sigmund Freud demonstrates his own analysis of “Oedipus the King” in his <em>Interpretation of Dreams:</em> “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and… murderous wish against our father” (qtd. in Knox 28).  This theory is well known today as the <em>Oedipus Cycle</em>.  “As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son,” explains Datan.  The contemporary fears that we hold today contrast with how the ancient Greeks viewed drama.  We still hold the play as entertainment and tragedy like the ancient Greeks did, but we do not hold a ritualistic belief in presenting it towards the gods.  Yet, we have contemporarily deciphered the work of Sophocles as a base of psychoanalytic theory –“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).\r\n\r\nFollowing the death of Oedipus, Sophocles writes two more plays: “Oedipus at Colonus” and “Antigone”.  Antigone is Oedipus’ daughter who faces several conflicts in the play that makes her a tragic hero, similar to her father in “Oedipus the King”.  Antigone pleads to her uncle, Creon, and the laws of the state, for the proper burial of her brother, Polynices.  Because Antigone persists and follows through with her familial duties, we acknowledge her pride-- an Athenian quality mentioned earlier that was also used in “Oedipus the King”.  Sophocles still emphasizes the will of the gods as Antigone is conflicted with human and divine law.  “Her heroism derives from her unswerving dedication to the ideals of divine justice and to the duty of the individual to honor family, even if it challenges the laws of the state” (qtd. in Fiero).  And finally, just like “Oedipus the King,” Sophocles provides the audience with a visual of themselves on stage presented in tragic events.  Similar to the plague hitting Athens and destroying Thebes, Sophocles illustrated the tragedy of the expectations of women in society.  However, “Antigone threatened the status quo,” giving the story a twist (Fiero).\r\n\r\nDespite the many similarities between two of the Sophocles’ greatest plays, “Antigone” and “Oedipus the King”, we find many differences suggesting the unique creativity and intentions the playwright had for his audience.  Antigone deals with more conflicts that relate “human passions, the will of the gods, and the sovereignty of the polis” (Fiero).  Sophocles creates a different tragedy with a different theme, yet still relating to the community.  He reflects on the public good and private conscience that ultimately leads to making decisions.  Antigone, considered by society as weak because she is a woman, creates a deeper, unique character that questions the capability and strength of women.  Unlike Oedipus, she chooses her personal obligations rather than the public or the state.\r\n\r\nI believe that the “Oedipus the King” has successfully provided its audience throughout the ages the entertainment and a true tragic hero by being determined to search for the truth.  He becomes both detective and criminal and accepts the punishment he had made unknowingly for himself.  The structure of the tragic events has captivated audiences and playwrights throughout the day that will benefit not only to future generations, but to the developing people who search to define morality and truth.  The advancement of theatre today would not have developed without the ancient Greeks.  I believe that “Oedipus the King” is a great piece of art, theatre, and history that has made its name for a reason and should be saved for the future.\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\nBrocket, Oscar G. and Robert J. Ball.  “The Essential Theatre.”  10<sup>th</sup> ed.  Boston: Cengage Learning, 2011.  Print.\r\nI used this book for historical context and how the work was unusual for its time.\r\n\r\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  International Journal Of Aging &amp; Human Development 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\r\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" New Republic 187.9 (1982): 28. MasterFILE Premier. EBSCO. Web. 21 Feb. 2011.\r\nI used this article to help me explain how people think about Sophocles’s tragedy today.\r\n\r\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\r\nThis website helped me summarize and describe the story of Oedipus the King.\r\n\r\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\r\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\r\n\r\nWeismantel, Mary J. \"Life Cycle: Overview.\" New Dictionary of the History of Ideas. Ed.  Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. Gale Virtual Reference Library. Web. 21 Feb. 2011.\r\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','publish','open','open','','oedipus-the-king','','','2011-02-24 13:56:11','2011-02-24 19:56:11','',0,'http://jeanatacc.com/2011/?p=454',0,'post','',10),(455,9,'2011-02-21 20:45:38','2011-02-22 02:45:38','','Oedipus the King','','inherit','open','open','','oedipus-2','','','2011-02-21 20:45:38','2011-02-22 02:45:38','',454,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg',0,'attachment','image/jpeg',0),(456,9,'2011-02-21 20:47:05','2011-02-22 02:47:05','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"alignnone size-full wp-image-455\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>','','','inherit','open','open','','454-revision','','','2011-02-21 20:47:05','2011-02-22 02:47:05','',454,'http://jeanatacc.com/2011/?p=456',0,'revision','',0),(457,9,'2011-02-21 20:50:12','2011-02-22 02:50:12','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\n<p style=\"text-align: left\"><strong>\n</strong></p>','Oedipus the King','','inherit','open','open','','454-revision-2','','','2011-02-21 20:50:12','2011-02-22 02:50:12','',454,'http://jeanatacc.com/2011/?p=457',0,'revision','',0),(458,35,'2011-02-21 21:04:50','2011-02-22 03:04:50','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1.jpg\"><img class=\"alignnone size-medium wp-image-460\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1-300x208.jpg\" alt=\"Enuma Elish\" width=\"300\" height=\"208\" /></a>\r\n\r\nThe Babylonian Creation Myth\r\n\r\nThe <em>Babylonian Creation</em> is a Sumerian poem, traced back to the early second millennium b.c.e. It is the first cosmological creation myth; it describes the birth of the Babylonian gods and the progression of creation. According to our textbook <em>The Humanistic Tradition </em>it was “[R]ecited during the festival of the New Year,[…] [I]t describes a universe that originated by means of spontaneous generation: at a moment when there was neither heaven nor earth, the sweet and bitter waters “mingled” to produce the first family of gods” (Fiero B1 17). Around 1700 BCE, the time of the Babylonian King Hammurabi, the poem was inscribed on seven clay tablets and is known as <em>Enuma Elish</em>. The <em>Encyclopedia of World Mythology</em> explains that “Its title, meaning “when on high,” comes from the first line of the epic, which begins: “When on high the heaven had not been named/Firm ground below had not been called by name” (354). The main theme of this poem is creation but it also describes the ascending power of the myth’s hero and deity Marduk. <em>Encyclopedia of World Mythology </em>writes that “Marduk represents the supreme power of the gods over humans.<!--more--> According to myth, he created humans for the sole purpose of doing labor for the gods, […] Marduk also represents youth and strength, which overcome the army of the older gods and Tiamat” (669). The <em>Babylonian Creation </em>is an imperative literary poem to include in our time capsule because it is vital for future generations to be educated and understand the origins of the Mesopotamian era. This is important because the Babylonian civilization was one of the first societies to set roots and help evolve humanity.\r\n\r\nFrom reading excepts of the <em>Babylonian Creation</em> Myth in <em>The Humanistic Tradition </em>and an overview from the<em> </em><em>New Catholic Encyclopedia</em>, my summary of <em>Enuma Elish </em>is as follows: before there was heaven and earth, light, names for anything, etc., there was Apsu (fresh water) and Tiamat (salt water). They created the gods, Lahmu and Lahamu (male and female primordial beings) and Anshar and Kishar (horizon of the sky, male and horizon of the earth, female) in their waters to bring order to the world. From them, Anu (god of the sky) and Ea (god of wisdom) were born. The divine beings Anu and Ea were very powerful and chaos broke out between the gods. “Ea kills Apsu; Marduk is born and Tiamat spawns serpents and monsters (the leader of the monsters being Kingu) to make war on the gods.” to avenge Apsu’s death. Marduk becomes the commander of the war and used a net held by the winds on all sides (north, south, east and west) so Tiamat could not get through or escape. Once held captive, Marduk kills Tiamat, cutting his body in half, from one half he creates heaven and the other, earth. Babylon (the home of the gods) was created. Peace was restored and the gods wanted to create humans to sacrifice, Marduk creates man from the blood of Kingu. The gods build a shrine and temple to show appreciation and respect to Marduk in Babylon (Fiero B1 18). Learning about the different gods and religious concepts of ancient cultures gives future generations the opportunity to compare the foundations of their own beliefs, as well as mythology and cosmology of further early traditions.\r\n\r\nPreserving historical literature also assists future generations by supplying them with various works of art. This helps by being able to compare the characteristics of one body of work with another from the same era and/or topic, and to get a greater sense of what life was like and what was essential in their society.  Characteristics of the <em>Babylonian Creation</em> myth are comparable to other literary works of Mesopotamia. It is similar to the <em>Epic of Gilgamesh</em> with the clear fact that they both were narrative poems<em> </em>recited orally, possibly through song for generations before finally being recorded otherwise. They are both significant and innovative to this era because they are considered the originals of their type of work;<em> Enuma Elish </em>is the first cosmological creation myth whereas<em> Epic of Gilgamesh </em>is the “world’s first epic.” Furthermore, the <em>Babylonian Creation</em> and <em>Epic of Gilgamesh “</em>recounts the deeds of a hero in quest of meaning and identity”,both literary works also “embodies the ideals and values of the culture from which it comes” (Fiero B1 19). Even though <em>Epic of Gilgamesh </em>is currently the first epic, some believe that the <em>Babylonian Creation</em> isn’t truly a myth of how our world was created but also an epic in respects because it focuses on a hero, Murduk. The Crystallinks, a metaphysics and science website formulates the opinion that “This epic is […] centered on the supremacy of Marduk and the creation of mankind for the service of the gods. Its primary original purpose, however, is not an exposition of theology […], but the elevation of Marduk, the chief god of Babylon, above other Mesopotamian gods” (Crystal).\r\n\r\nThe <em>Babylonian creation</em> not only is innovative because it is one of the first creation myths but also because it influenced politics during its time as well. It is perceived that the hero/god of the poem, Marduk was revered as such so he could take his place as the head in the Babylonian Pantheon. According to Giovanni Pettinato, author of <em>Mesopotamian Religions: An Overview [Further Considerations]</em> the scribes “[…] chose to establish a father-son relationship between Enki (Ea) and Marduk […] their syllogistic reasoning is clear: if Enki the king is Marduk\'s father, then Marduk becomes the king. […] The text then goes on to describe the generation of the god Enki and his son Marduk, thus ensuring that Marduk is given a definite place in the Mesopotamian pantheon” (Pettinato 5965). The <em>Encyclopedia of World Mythology </em>also states that “<em>Enuma Elish</em> had political as well as religious meaning for the Babylonians. By identifying the heroic creator god as Marduk of Babylon, the myth justified the city\'s dominance over the region” (355).\r\n\r\nFrom my research and comprehension the citizens of the Mesopotamian era believed this myth as truth, and they used it as part of their New Years celebration. However, some scholars today say that it was used as propaganda. Swedish scholar on ancient history of religion, Ola Wikander “states firmly that Enuma Elish is the work of one single writer, who saw Babylon as the natural center of the world, and wanted to express just that.  In addition to propagating Babylonian superiority, Wikander speculates that the text also intends to justify the turn from collective rule to absolute monarchy” (Stenudd). From another academic perspective, according to <em>New Catholic Encyclopedia</em> in most scholarly groups “The poem is usually viewed as theological underpinning for the rise of an upstart city to become the seat of a mighty empire and for the elevation of its hitherto obscure god to the head of the pantheon in place of the Sumerian god Enlil” (269).\r\n\r\nPersonally I found this poem fascinating because I like to reflect on the different creationism/evolutionism ideals from other cultures and eras. The questions of “where did we come from?” and “why are we here?” are questions that all humans consider in their life time. It’s a curiosity that binds us in unity and yet, unfortunately, sometimes because of these beliefs cause hostilities.  I think it is important to educate ourselves and the next generations in our diversities. In doing so we are helping humanity by understanding and hopefully respecting, the uniqueness of various traditions and civilizations.\r\n\r\nBibliography\r\n\r\nBRINKMAN, J. A. \"Enuma Elish.\" <em>New Catholic Encyclopedia</em>. 2nd ed. Vol. 5. Detroit: Gale, 2003. 267-269. <em>Gale World History In Context</em>. Web. 5 Feb. 2011.\r\n\r\nCystal, Ellie. \"Babylonian Creational Myths Enuma Elish - Crystalinks.\" <em>Crystalinks Home Page</em>. 1995-2010. Web. 21 Feb. 2011. &lt;http://www.crystalinks.com/enumaelish.html&gt;.\r\n\r\nEnuma Elish.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 2. Detroit: UXL, 2009. 354-356. <em>Gale World History In Context</em>. Web. 16 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\n\"Marduk.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 4. Detroit: UXL, 2009. 668-670. <em>Gale World History In Context</em>. Web. 20 Feb. 2011.\r\n\r\nPettinato, Giovanni. \"Mesopotamian Religions: An Overview [FurtherConsiderations].\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 9. Detroit: Macmillan Reference USA, 2005. 5963-5967. <em>Gale Virtual Reference Library</em>. Web. 20 Feb. 2011.\r\n\r\nrymer-Kensky, Tikva, and Giovanni Pettinato. \"Enuma Elish.\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2809-2812. <em>Gale Virtual Reference Library</em>. Web. 16 Feb. 2011.\r\n\r\nStenudd, Stefan. \"ENUMA ELISH - Babylonian Creation Myth - Theories.\" <em>Aikido, Art, Myth, Fiction, and More - by STEFAN STENUDD</em>. 2007. Web. 21 Feb. 2011. &lt;http://www.stenudd.com/myth/enumaelish/enumaelish-4.htm&gt;.','The Babylonian Creation','','inherit','open','open','','375-autosave','','','2011-02-21 21:04:50','2011-02-22 03:04:50','',375,'http://jeanatacc.com/2011/?p=458',0,'revision','',0),(459,35,'2011-02-21 20:58:23','2011-02-22 02:58:23','','enumaelish','','inherit','open','open','','enumaelish','','','2011-02-21 20:58:23','2011-02-22 02:58:23','',375,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish.jpg',0,'attachment','image/jpeg',0),(461,35,'2011-02-21 14:14:08','2011-02-21 20:14:08','The <em>Babylonian Creation</em> is a Sumerian poem, traced back to the early second millennium b.c.e. It is the first cosmological creation myth; it describes the birth of the Babylonian gods and the progression of creation. According to our textbook <em>The Humanistic Tradition </em>it was “[R]ecited during the festival of the New Year,[…] [I]t describes a universe that originated by means of spontaneous generation: at a moment when there was neither heaven nor earth, the sweet and bitter waters “mingled” to produce the first family of gods” (Fiero B1 17).<!--more--> Around 1700 BCE, the time of the Babylonian King Hammurabi, the poem was inscribed on seven clay tablets and is known as <em>Enuma Elish</em>. The <em>Encyclopedia of World Mythology</em> explains that “Its title, meaning “when on high,” comes from the first line of the epic, which begins: “When on high the heaven had not been named/Firm ground below had not been called by name” (354). The main theme of this poem is creation but it also describes the ascending power of the myth’s hero and deity Marduk. <em>Encyclopedia of World Mythology </em>writes that “Marduk represents the supreme power of the gods over humans. According to myth, he created humans for the sole purpose of doing labor for the gods, […] Marduk also represents youth and strength, which overcome the army of the older gods and Tiamat” (669).\r\n\r\nFrom reading excepts of the <em>Babylonian Creation</em> Myth in <em>The Humanistic Tradition </em>and an overview from the<em> </em><em>New Catholic Encyclopedia</em>, my summary of <em>Enuma Elish </em>is as follows: before there was heaven and earth, light, name, etc., there was Apsu (fresh water) and Tiamat (salt water). They created the gods, Lahmu and Lahamu (male and female primordial beings) and Anshar and Kishar (horizon of the sky, male and horizon of the earth, female) in their waters to bring order to the world. From them, Anu (god of the sky) and Ea (god of wisdom) were born. They were very powerful and chaos broke out between the gods. “Ea kills Apsu; Marduk is born and Tiamat spawns serpents and monsters (the leader of the monsters being Kingu) to make war on the gods.” to avenge Apsu’s death. Marduk becomes the commander of the war and used a net held by the winds on all sides (north, south, east and west) so Tiamat could not get through or escape. Once held captive, Marduk kills Tiamat, cutting his body in half, from one half he creates heaven and the other, earth. Babylon (the home of the gods) was created. Peace was restored and the gods wanted to create humans to sacrifice, Marduk creates man from the blood of Kingu. The gods build a shrine and temple to show appreciation and respect to Marduk in Babylon (Fiero B1 18).\r\n\r\nCharacteristics of the <em>Babylonian Creation</em> myth are comparable to other literary works of Mesopotamia; similar to <em>Epic of Gilgamesh</em>, both were narrative poems<em> </em>recited orally, possibly through song for generations before finally being recorded otherwise. They are both significant and innovative to this era because they are considered the first of their type of work;<em> Enuma Elish </em>is the first cosmological creation myth whereas<em> Epic of Gilgamesh </em>is the “world’s first epic.” Also, the <em>Babylonian Creation</em> and <em>Epic of Gilgamesh </em>“recounts the deeds of a hero in quest of meaning and identity”, both literary works “embodies the ideals and values of the culture from which it comes” (Fiero B1 19).\r\n\r\nThe <em>Babylonian creation</em> not only is innovative because it is one of the first creation myths but also because it influenced politics during its time as well. It is perceived that the hero/god of the poem, Marduk was revered as such so he could take his place as the head in the Babylonian Pantheon. According to Giovanni Pettinato, author of <em>Mesopotamian Religions: An Overview [Further Considerations]</em> the scribes “[…] chose to establish a father-son relationship between Enki (Ea) and Marduk […] their syllogistic reasoning is clear: if Enki the king is Marduk\'s father, then Marduk becomes the king. […] The text then goes on to describe the generation of the god Enki and his son Marduk, thus ensuring that Marduk is given a definite place in the Mesopotamian pantheon” (Pettinato 5965). The <em>Encyclopedia of World Mythology </em>also states that “<em>Enuma Elish</em> had political as well as religious meaning for the Babylonians. By identifying the heroic creator god as Marduk of Babylon, the myth justified the city\'s dominance over the region” (355).\r\n\r\nFrom a academic perspective, according to <em>New Catholic Encyclopedia</em> in most scholarly groups “The poem is usually viewed as theological underpinning for the rise of an upstart city to become the seat of a mighty empire and for the elevation of its hitherto obscure god to the head of the pantheon in place of the Sumerian god Enlil” (269).\r\n\r\nPersonally I found this poem fascinating because I like to reflect on the different creationism/evolutionism ideals from other cultures and eras. The questions of “where did we come from?” and “why are we here?” are ones that all humans consider in their life time, it’s a curiosity that binds us in unity and yet, unfortunately sometimes because of these beliefs cause hostilities.  I think it is important to educate ourselves and the next generations in our diversities. In doing so we are helping humanity by understanding and hopefully respecting, the uniqueness of various traditions and civilizations.\r\n<p style=\"text-align: center\">Bibliography</p>\r\nBRINKMAN, J. A. \"Enuma Elish.\" <em>New Catholic Encyclopedia</em>. 2nd ed. Vol. 5. Detroit: Gale, 2003. 267-269. <em>Gale World History In Context</em>. Web. 5 Feb. 2011.\r\n\r\nEnuma Elish.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 2. Detroit: UXL, 2009. 354-356. <em>Gale World History In Context</em>. Web. 16 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\n\"Marduk.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 4. Detroit: UXL, 2009. 668-670. <em>Gale World History In Context</em>. Web. 20 Feb. 2011.\r\n\r\nPettinato, Giovanni. \"Mesopotamian Religions: An Overview [FurtherConsiderations].\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 9. Detroit: Macmillan Reference USA, 2005. 5963-5967. <em>Gale Virtual Reference Library</em>. Web. 20 Feb. 2011.\r\n\r\nrymer-Kensky, Tikva, and Giovanni Pettinato. \"Enuma Elish.\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2809-2812. <em>Gale Virtual Reference Library</em>. Web. 16 Feb. 2011.','The Babylonian Creation','','inherit','open','open','','375-revision-4','','','2011-02-21 14:14:08','2011-02-21 20:14:08','',375,'http://jeanatacc.com/2011/?p=461',0,'revision','',0),(460,35,'2011-02-21 21:00:48','2011-02-22 03:00:48','','enumaelish','','inherit','open','open','','enumaelish-2','','','2011-02-21 21:00:48','2011-02-22 03:00:48','',375,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1.jpg',0,'attachment','image/jpeg',0),(462,22,'2011-02-21 21:02:35','2011-02-22 03:02:35','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more importan the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear.  ','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-4','','','2011-02-21 21:02:35','2011-02-22 03:02:35','',419,'http://jeanatacc.com/2011/?p=462',0,'revision','',0),(463,35,'2011-02-21 21:01:32','2011-02-22 03:01:32','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1.jpg\"><img class=\"alignnone size-medium wp-image-460\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1-300x208.jpg\" alt=\"Enuma Elish\" width=\"300\" height=\"208\" /></a>The <em>Babylonian Creation</em> is a Sumerian poem, traced back to the early second millennium b.c.e. It is the first cosmological creation myth; it describes the birth of the Babylonian gods and the progression of creation. According to our textbook <em>The Humanistic Tradition </em>it was “[R]ecited during the festival of the New Year,[…] [I]t describes a universe that originated by means of spontaneous generation: at a moment when there was neither heaven nor earth, the sweet and bitter waters “mingled” to produce the first family of gods” (Fiero B1 17).<!--more--> Around 1700 BCE, the time of the Babylonian King Hammurabi, the poem was inscribed on seven clay tablets and is known as <em>Enuma Elish</em>. The <em>Encyclopedia of World Mythology</em> explains that “Its title, meaning “when on high,” comes from the first line of the epic, which begins: “When on high the heaven had not been named/Firm ground below had not been called by name” (354). The main theme of this poem is creation but it also describes the ascending power of the myth’s hero and deity Marduk. <em>Encyclopedia of World Mythology </em>writes that “Marduk represents the supreme power of the gods over humans. According to myth, he created humans for the sole purpose of doing labor for the gods, […] Marduk also represents youth and strength, which overcome the army of the older gods and Tiamat” (669).\r\n\r\nFrom reading excepts of the <em>Babylonian Creation</em> Myth in <em>The Humanistic Tradition </em>and an overview from the<em> </em><em>New Catholic Encyclopedia</em>, my summary of <em>Enuma Elish </em>is as follows: before there was heaven and earth, light, name, etc., there was Apsu (fresh water) and Tiamat (salt water). They created the gods, Lahmu and Lahamu (male and female primordial beings) and Anshar and Kishar (horizon of the sky, male and horizon of the earth, female) in their waters to bring order to the world. From them, Anu (god of the sky) and Ea (god of wisdom) were born. They were very powerful and chaos broke out between the gods. “Ea kills Apsu; Marduk is born and Tiamat spawns serpents and monsters (the leader of the monsters being Kingu) to make war on the gods.” to avenge Apsu’s death. Marduk becomes the commander of the war and used a net held by the winds on all sides (north, south, east and west) so Tiamat could not get through or escape. Once held captive, Marduk kills Tiamat, cutting his body in half, from one half he creates heaven and the other, earth. Babylon (the home of the gods) was created. Peace was restored and the gods wanted to create humans to sacrifice, Marduk creates man from the blood of Kingu. The gods build a shrine and temple to show appreciation and respect to Marduk in Babylon (Fiero B1 18).\r\n\r\nCharacteristics of the <em>Babylonian Creation</em> myth are comparable to other literary works of Mesopotamia; similar to <em>Epic of Gilgamesh</em>, both were narrative poems<em> </em>recited orally, possibly through song for generations before finally being recorded otherwise. They are both significant and innovative to this era because they are considered the first of their type of work;<em> Enuma Elish </em>is the first cosmological creation myth whereas<em> Epic of Gilgamesh </em>is the “world’s first epic.” Also, the <em>Babylonian Creation</em> and <em>Epic of Gilgamesh </em>“recounts the deeds of a hero in quest of meaning and identity”, both literary works “embodies the ideals and values of the culture from which it comes” (Fiero B1 19).\r\n\r\nThe <em>Babylonian creation</em> not only is innovative because it is one of the first creation myths but also because it influenced politics during its time as well. It is perceived that the hero/god of the poem, Marduk was revered as such so he could take his place as the head in the Babylonian Pantheon. According to Giovanni Pettinato, author of <em>Mesopotamian Religions: An Overview [Further Considerations]</em> the scribes “[…] chose to establish a father-son relationship between Enki (Ea) and Marduk […] their syllogistic reasoning is clear: if Enki the king is Marduk\'s father, then Marduk becomes the king. […] The text then goes on to describe the generation of the god Enki and his son Marduk, thus ensuring that Marduk is given a definite place in the Mesopotamian pantheon” (Pettinato 5965). The <em>Encyclopedia of World Mythology </em>also states that “<em>Enuma Elish</em> had political as well as religious meaning for the Babylonians. By identifying the heroic creator god as Marduk of Babylon, the myth justified the city\'s dominance over the region” (355).\r\n\r\nFrom a academic perspective, according to <em>New Catholic Encyclopedia</em> in most scholarly groups “The poem is usually viewed as theological underpinning for the rise of an upstart city to become the seat of a mighty empire and for the elevation of its hitherto obscure god to the head of the pantheon in place of the Sumerian god Enlil” (269).\r\n\r\nPersonally I found this poem fascinating because I like to reflect on the different creationism/evolutionism ideals from other cultures and eras. The questions of “where did we come from?” and “why are we here?” are ones that all humans consider in their life time, it’s a curiosity that binds us in unity and yet, unfortunately sometimes because of these beliefs cause hostilities.  I think it is important to educate ourselves and the next generations in our diversities. In doing so we are helping humanity by understanding and hopefully respecting, the uniqueness of various traditions and civilizations.\r\n<p style=\"text-align: center\">Bibliography</p>\r\nBRINKMAN, J. A. \"Enuma Elish.\" <em>New Catholic Encyclopedia</em>. 2nd ed. Vol. 5. Detroit: Gale, 2003. 267-269. <em>Gale World History In Context</em>. Web. 5 Feb. 2011.\r\n\r\nEnuma Elish.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 2. Detroit: UXL, 2009. 354-356. <em>Gale World History In Context</em>. Web. 16 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\n\"Marduk.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 4. Detroit: UXL, 2009. 668-670. <em>Gale World History In Context</em>. Web. 20 Feb. 2011.\r\n\r\nPettinato, Giovanni. \"Mesopotamian Religions: An Overview [FurtherConsiderations].\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 9. Detroit: Macmillan Reference USA, 2005. 5963-5967. <em>Gale Virtual Reference Library</em>. Web. 20 Feb. 2011.\r\n\r\nrymer-Kensky, Tikva, and Giovanni Pettinato. \"Enuma Elish.\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2809-2812. <em>Gale Virtual Reference Library</em>. Web. 16 Feb. 2011.','The Babylonian Creation','','inherit','open','open','','375-revision-5','','','2011-02-21 21:01:32','2011-02-22 03:01:32','',375,'http://jeanatacc.com/2011/?p=463',0,'revision','',0),(464,35,'2011-02-21 21:07:03','2011-02-22 03:07:03','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1.jpg\"><img class=\"alignnone size-medium wp-image-460\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1-300x208.jpg\" alt=\"Enuma Elish\" width=\"300\" height=\"208\" /></a>\r\n\r\nThe Babylonian Creation Myth\r\n\r\nThe <em>Babylonian Creation</em> is a Sumerian poem, traced back to the early second millennium b.c.e. It is the first cosmological creation myth; it describes the birth of the Babylonian gods and the progression of creation. According to our textbook <em>The Humanistic Tradition </em>it was “[R]ecited during the festival of the New Year,[…] [I]t describes a universe that originated by means of spontaneous generation: at a moment when there was neither heaven nor earth, the sweet and bitter waters “mingled” to produce the first family of gods” (Fiero B1 17). Around 1700 BCE, the time of the Babylonian King Hammurabi, the poem was inscribed on seven clay tablets and is known as <em>Enuma Elish</em>. The <em>Encyclopedia of World Mythology</em> explains that “Its title, meaning “when on high,” comes from the first line of the epic, which begins: “When on high the heaven had not been named/Firm ground below had not been called by name” (354). The main theme of this poem is creation but it also describes the ascending power of the myth’s hero and deity Marduk. <em>Encyclopedia of World Mythology </em>writes that “Marduk represents the supreme power of the gods over humans. According to myth, he created humans for the sole purpose of doing labor for the gods, […] Marduk also represents youth and strength, which overcome the army of the older gods and Tiamat” (669). The <em>Babylonian Creation </em>is an imperative literary poem to include in our time capsule because it is vital for future generations to be educated and understand the origins of the Mesopotamian era. This is important because the Babylonian civilization was one of the first societies to set roots and help evolve humanity.\r\n\r\nFrom reading excepts of the <em>Babylonian Creation</em> Myth in <em>The Humanistic Tradition </em>and an overview from the<em> </em><em>New Catholic Encyclopedia</em>, my summary of <em>Enuma Elish </em>is as follows: before there was heaven and earth, light, names for anything, etc., there was Apsu (fresh water) and Tiamat (salt water). They created the gods, Lahmu and Lahamu (male and female primordial beings) and Anshar and Kishar (horizon of the sky, male and horizon of the earth, female) in their waters to bring order to the world. From them, Anu (god of the sky) and Ea (god of wisdom) were born. The divine beings Anu and Ea were very powerful and chaos broke out between the gods. “Ea kills Apsu; Marduk is born and Tiamat spawns serpents and monsters (the leader of the monsters being Kingu) to make war on the gods.” to avenge Apsu’s death. Marduk becomes the commander of the war and used a net held by the winds on all sides (north, south, east and west) so Tiamat could not get through or escape. Once held captive, Marduk kills Tiamat, cutting his body in half, from one half he creates heaven and the other, earth. Babylon (the home of the gods) was created. Peace was restored and the gods wanted to create humans to sacrifice, Marduk creates man from the blood of Kingu. The gods build a shrine and temple to show appreciation and respect to Marduk in Babylon (Fiero B1 18). Learning about the different gods and religious concepts of ancient cultures gives future generations the opportunity to compare the foundations of their own beliefs, as well as mythology and cosmology of further early traditions.\r\n\r\nPreserving historical literature also assists future generations by supplying them with various works of art. This helps by being able to compare the characteristics of one body of work with another from the same era and/or topic, and to get a greater sense of what life was like and what was essential in their society.  Characteristics of the <em>Babylonian Creation</em> myth are comparable to other literary works of Mesopotamia. It is similar to the <em>Epic of Gilgamesh</em> with the clear fact that they both were narrative poems<em> </em>recited orally, possibly through song for generations before finally being recorded otherwise. They are both significant and innovative to this era because they are considered the originals of their type of work;<em> Enuma Elish </em>is the first cosmological creation myth whereas<em> Epic of Gilgamesh </em>is the “world’s first epic.” Furthermore, the <em>Babylonian Creation</em> and <em>Epic of Gilgamesh “</em>recounts the deeds of a hero in quest of meaning and identity”,both literary works also “embodies the ideals and values of the culture from which it comes” (Fiero B1 19). Even though <em>Epic of Gilgamesh </em>is currently the first epic, some believe that the <em>Babylonian Creation</em> isn’t truly a myth of how our world was created but also an epic in respects because it focuses on a hero, Murduk. The Crystallinks, a metaphysics and science website formulates the opinion that “This epic is […] centered on the supremacy of Marduk and the creation of mankind for the service of the gods. Its primary original purpose, however, is not an exposition of theology […], but the elevation of Marduk, the chief god of Babylon, above other Mesopotamian gods” (Crystal).\r\n\r\nThe <em>Babylonian creation</em> not only is innovative because it is one of the first creation myths but also because it influenced politics during its time as well. It is perceived that the hero/god of the poem, Marduk was revered as such so he could take his place as the head in the Babylonian Pantheon. According to Giovanni Pettinato, author of <em>Mesopotamian Religions: An Overview [Further Considerations]</em> the scribes “[…] chose to establish a father-son relationship between Enki (Ea) and Marduk […] their syllogistic reasoning is clear: if Enki the king is Marduk\'s father, then Marduk becomes the king. […] The text then goes on to describe the generation of the god Enki and his son Marduk, thus ensuring that Marduk is given a definite place in the Mesopotamian pantheon” (Pettinato 5965). The <em>Encyclopedia of World Mythology </em>also states that “<em>Enuma Elish</em> had political as well as religious meaning for the Babylonians. By identifying the heroic creator god as Marduk of Babylon, the myth justified the city\'s dominance over the region” (355).\r\n\r\nFrom my research and comprehension the citizens of the Mesopotamian era believed this myth as truth, and they used it as part of their New Years celebration. However, some scholars today say that it was used as propaganda. Swedish scholar on ancient history of religion, Ola Wikander “states firmly that Enuma Elish is the work of one single writer, who saw Babylon as the natural center of the world, and wanted to express just that.  In addition to propagating Babylonian superiority, Wikander speculates that the text also intends to justify the turn from collective rule to absolute monarchy” (Stenudd). From another academic perspective, according to <em>New Catholic Encyclopedia</em> in most scholarly groups “The poem is usually viewed as theological underpinning for the rise of an upstart city to become the seat of a mighty empire and for the elevation of its hitherto obscure god to the head of the pantheon in place of the Sumerian god Enlil” (269).\r\n\r\nPersonally I found this poem fascinating because I like to reflect on the different creationism/evolutionism ideals from other cultures and eras. The questions of “where did we come from?” and “why are we here?” are questions that all humans consider in their life time. It’s a curiosity that binds us in unity and yet, unfortunately, sometimes because of these beliefs cause hostilities.  I think it is important to educate ourselves and the next generations in our diversities. In doing so we are helping humanity by understanding and hopefully respecting, the uniqueness of various traditions and civilizations.\r\n\r\nBibliography\r\n\r\nBRINKMAN, J. A. \"Enuma Elish.\" <em>New Catholic Encyclopedia</em>. 2nd ed. Vol. 5. Detroit: Gale, 2003. 267-269. <em>Gale World History In Context</em>. Web. 5 Feb. 2011.\r\n\r\nCystal, Ellie. \"Babylonian Creational Myths Enuma Elish - Crystalinks.\" <em>Crystalinks Home Page</em>. 1995-2010. Web. 21 Feb. 2011. &lt;http://www.crystalinks.com/enumaelish.html&gt;.\r\n\r\nEnuma Elish.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 2. Detroit: UXL, 2009. 354-356. <em>Gale World History In Context</em>. Web. 16 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\n\"Marduk.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 4. Detroit: UXL, 2009. 668-670. <em>Gale World History In Context</em>. Web. 20 Feb. 2011.\r\n\r\nPettinato, Giovanni. \"Mesopotamian Religions: An Overview [FurtherConsiderations].\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 9. Detroit: Macmillan Reference USA, 2005. 5963-5967. <em>Gale Virtual Reference Library</em>. Web. 20 Feb. 2011.\r\n\r\nrymer-Kensky, Tikva, and Giovanni Pettinato. \"Enuma Elish.\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2809-2812. <em>Gale Virtual Reference Library</em>. Web. 16 Feb. 2011.\r\n\r\nStenudd, Stefan. \"ENUMA ELISH - Babylonian Creation Myth - Theories.\" <em>Aikido, Art, Myth, Fiction, and More - by STEFAN STENUDD</em>. 2007. Web. 21 Feb. 2011. &lt;http://www.stenudd.com/myth/enumaelish/enumaelish-4.htm&gt;.','The Babylonian Creation','','inherit','open','open','','375-revision-6','','','2011-02-21 21:07:03','2011-02-22 03:07:03','',375,'http://jeanatacc.com/2011/?p=464',0,'revision','',0),(465,35,'2011-02-21 21:07:47','2011-02-22 03:07:47','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1.jpg\"><img class=\"alignnone size-medium wp-image-460\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/enumaelish1-300x208.jpg\" alt=\"Enuma Elish\" width=\"300\" height=\"208\" /></a>\r\n\r\nThe <em>Babylonian Creation</em> is a Sumerian poem, traced back to the early second millennium b.c.e. It is the first cosmological creation myth; it describes the birth of the Babylonian gods and the progression of creation. According to our textbook <em>The Humanistic Tradition </em>it was “[R]ecited during the festival of the New Year,[…] [I]t describes a universe that originated by means of spontaneous generation: at a moment when there was neither heaven nor earth, the sweet and bitter waters “mingled” to produce the first family of gods” (Fiero B1 17). Around 1700 BCE, the time of the Babylonian King Hammurabi, the poem was inscribed on seven clay tablets and is known as <em>Enuma Elish</em>. The <em>Encyclopedia of World Mythology</em> explains that “Its title, meaning “when on high,” comes from the first line of the epic, which begins: “When on high the heaven had not been named/Firm ground below had not been called by name” (354). The main theme of this poem is creation but it also describes the ascending power of the myth’s hero and deity Marduk. <em>Encyclopedia of World Mythology </em>writes that “Marduk represents the supreme power of the gods over humans. According to myth, he created humans for the sole purpose of doing labor for the gods, […] Marduk also represents youth and strength, which overcome the army of the older gods and Tiamat” (669). The <em>Babylonian Creation </em>is an imperative literary poem to include in our time capsule because it is vital for future generations to be educated and understand the origins of the Mesopotamian era. This is important because the Babylonian civilization was one of the first societies to set roots and help evolve humanity.\r\n\r\nFrom reading excepts of the <em>Babylonian Creation</em> Myth in <em>The Humanistic Tradition </em>and an overview from the<em> </em><em>New Catholic Encyclopedia</em>, my summary of <em>Enuma Elish </em>is as follows: before there was heaven and earth, light, names for anything, etc., there was Apsu (fresh water) and Tiamat (salt water). They created the gods, Lahmu and Lahamu (male and female primordial beings) and Anshar and Kishar (horizon of the sky, male and horizon of the earth, female) in their waters to bring order to the world. From them, Anu (god of the sky) and Ea (god of wisdom) were born. The divine beings Anu and Ea were very powerful and chaos broke out between the gods. “Ea kills Apsu; Marduk is born and Tiamat spawns serpents and monsters (the leader of the monsters being Kingu) to make war on the gods.” to avenge Apsu’s death. Marduk becomes the commander of the war and used a net held by the winds on all sides (north, south, east and west) so Tiamat could not get through or escape. Once held captive, Marduk kills Tiamat, cutting his body in half, from one half he creates heaven and the other, earth. Babylon (the home of the gods) was created. Peace was restored and the gods wanted to create humans to sacrifice, Marduk creates man from the blood of Kingu. The gods build a shrine and temple to show appreciation and respect to Marduk in Babylon (Fiero B1 18). Learning about the different gods and religious concepts of ancient cultures gives future generations the opportunity to compare the foundations of their own beliefs, as well as mythology and cosmology of further early traditions.\r\n\r\nPreserving historical literature also assists future generations by supplying them with various works of art. This helps by being able to compare the characteristics of one body of work with another from the same era and/or topic, and to get a greater sense of what life was like and what was essential in their society.  Characteristics of the <em>Babylonian Creation</em> myth are comparable to other literary works of Mesopotamia. It is similar to the <em>Epic of Gilgamesh</em> with the clear fact that they both were narrative poems<em> </em>recited orally, possibly through song for generations before finally being recorded otherwise. They are both significant and innovative to this era because they are considered the originals of their type of work;<em> Enuma Elish </em>is the first cosmological creation myth whereas<em> Epic of Gilgamesh </em>is the “world’s first epic.” Furthermore, the <em>Babylonian Creation</em> and <em>Epic of Gilgamesh “</em>recounts the deeds of a hero in quest of meaning and identity”,both literary works also “embodies the ideals and values of the culture from which it comes” (Fiero B1 19). Even though <em>Epic of Gilgamesh </em>is currently the first epic, some believe that the <em>Babylonian Creation</em> isn’t truly a myth of how our world was created but also an epic in respects because it focuses on a hero, Murduk. The Crystallinks, a metaphysics and science website formulates the opinion that “This epic is […] centered on the supremacy of Marduk and the creation of mankind for the service of the gods. Its primary original purpose, however, is not an exposition of theology […], but the elevation of Marduk, the chief god of Babylon, above other Mesopotamian gods” (Crystal).\r\n\r\nThe <em>Babylonian creation</em> not only is innovative because it is one of the first creation myths but also because it influenced politics during its time as well. It is perceived that the hero/god of the poem, Marduk was revered as such so he could take his place as the head in the Babylonian Pantheon. According to Giovanni Pettinato, author of <em>Mesopotamian Religions: An Overview [Further Considerations]</em> the scribes “[…] chose to establish a father-son relationship between Enki (Ea) and Marduk […] their syllogistic reasoning is clear: if Enki the king is Marduk\'s father, then Marduk becomes the king. […] The text then goes on to describe the generation of the god Enki and his son Marduk, thus ensuring that Marduk is given a definite place in the Mesopotamian pantheon” (Pettinato 5965). The <em>Encyclopedia of World Mythology </em>also states that “<em>Enuma Elish</em> had political as well as religious meaning for the Babylonians. By identifying the heroic creator god as Marduk of Babylon, the myth justified the city\'s dominance over the region” (355).\r\n\r\nFrom my research and comprehension the citizens of the Mesopotamian era believed this myth as truth, and they used it as part of their New Years celebration. However, some scholars today say that it was used as propaganda. Swedish scholar on ancient history of religion, Ola Wikander “states firmly that Enuma Elish is the work of one single writer, who saw Babylon as the natural center of the world, and wanted to express just that.  In addition to propagating Babylonian superiority, Wikander speculates that the text also intends to justify the turn from collective rule to absolute monarchy” (Stenudd). From another academic perspective, according to <em>New Catholic Encyclopedia</em> in most scholarly groups “The poem is usually viewed as theological underpinning for the rise of an upstart city to become the seat of a mighty empire and for the elevation of its hitherto obscure god to the head of the pantheon in place of the Sumerian god Enlil” (269).\r\n\r\nPersonally I found this poem fascinating because I like to reflect on the different creationism/evolutionism ideals from other cultures and eras. The questions of “where did we come from?” and “why are we here?” are questions that all humans consider in their life time. It’s a curiosity that binds us in unity and yet, unfortunately, sometimes because of these beliefs cause hostilities.  I think it is important to educate ourselves and the next generations in our diversities. In doing so we are helping humanity by understanding and hopefully respecting, the uniqueness of various traditions and civilizations.\r\n\r\nBibliography\r\n\r\nBRINKMAN, J. A. \"Enuma Elish.\" <em>New Catholic Encyclopedia</em>. 2nd ed. Vol. 5. Detroit: Gale, 2003. 267-269. <em>Gale World History In Context</em>. Web. 5 Feb. 2011.\r\n\r\nCystal, Ellie. \"Babylonian Creational Myths Enuma Elish - Crystalinks.\" <em>Crystalinks Home Page</em>. 1995-2010. Web. 21 Feb. 2011. &lt;http://www.crystalinks.com/enumaelish.html&gt;.\r\n\r\nEnuma Elish.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 2. Detroit: UXL, 2009. 354-356. <em>Gale World History In Context</em>. Web. 16 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\n\"Marduk.\" <em>U*X*L Encyclopedia of World Mythology</em>. Vol. 4. Detroit: UXL, 2009. 668-670. <em>Gale World History In Context</em>. Web. 20 Feb. 2011.\r\n\r\nPettinato, Giovanni. \"Mesopotamian Religions: An Overview [FurtherConsiderations].\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 9. Detroit: Macmillan Reference USA, 2005. 5963-5967. <em>Gale Virtual Reference Library</em>. Web. 20 Feb. 2011.\r\n\r\nrymer-Kensky, Tikva, and Giovanni Pettinato. \"Enuma Elish.\" <em>Encyclopedia of Religion</em>. Ed. Lindsay Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2809-2812. <em>Gale Virtual Reference Library</em>. Web. 16 Feb. 2011.\r\n\r\nStenudd, Stefan. \"ENUMA ELISH - Babylonian Creation Myth - Theories.\" <em>Aikido, Art, Myth, Fiction, and More - by STEFAN STENUDD</em>. 2007. Web. 21 Feb. 2011. &lt;http://www.stenudd.com/myth/enumaelish/enumaelish-4.htm&gt;.','The Babylonian Creation','','inherit','open','open','','375-revision-7','','','2011-02-21 21:07:47','2011-02-22 03:07:47','',375,'http://jeanatacc.com/2011/?p=465',0,'revision','',0),(466,9,'2011-02-21 20:51:58','2011-02-22 02:51:58','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\n<p style=\"text-align: left\"><strong>\n</strong></p>','Oedipus the King','','inherit','open','open','','454-revision-3','','','2011-02-21 20:51:58','2011-02-22 02:51:58','',454,'http://jeanatacc.com/2011/?p=466',0,'revision','',0),(467,22,'2011-02-21 21:36:45','2011-02-22 03:36:45','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  Many people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \n in addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal\n\n\n\n\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-5','','','2011-02-21 21:36:45','2011-02-22 03:36:45','',419,'http://jeanatacc.com/2011/?p=467',0,'revision','',0),(468,9,'2011-02-21 21:46:02','2011-02-22 03:46:02','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\nWorks Cited\n\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  <em>International Journal Of Aging &amp; Human Development</em> 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\n\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 14 Feb. 2011.\nI used this article to help me explain how people think about Sophocles’s tragedy today.\n\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\nThis website helped me summarize and describe the story of Oedipus the King.\n\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\n\nWeismantel, Mary J. \"Life Cycle: Overview.\" <em>New Dictionary of the History of Ideas</em>. Ed.   Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. <em>Gale Virtual Reference Library</em>. Web. 21 Feb. 2011.\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-revision-4','','','2011-02-21 21:46:02','2011-02-22 03:46:02','',454,'http://jeanatacc.com/2011/?p=468',0,'revision','',0),(469,9,'2011-02-21 21:46:30','2011-02-22 03:46:30','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\r\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\r\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  <em>International Journal Of Aging &amp; Human Development</em> 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\r\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.\r\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 14 Feb. 2011.\r\nI used this article to help me explain how people think about Sophocles’s tragedy today.\r\n\r\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\r\nThis website helped me summarize and describe the story of Oedipus the King.\r\n\r\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\r\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\r\n\r\nWeismantel, Mary J. \"Life Cycle: Overview.\" <em>New Dictionary of the History of Ideas</em>. Ed.   Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. <em>Gale Virtual Reference Library</em>. Web. 21 Feb. 2011.\r\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-revision-5','','','2011-02-21 21:46:30','2011-02-22 03:46:30','',454,'http://jeanatacc.com/2011/?p=469',0,'revision','',0),(470,1,'2011-02-21 20:30:10','2011-02-22 02:30:10','<div>\r\n<div>\r\n\r\nAlthough there were many ancient epic poems throughout history, The Epic of Gilgamesh is by far the oldest known epic poem and is one of the oldest surviving text in the world. The surviving version of the epic is written in Akkadian, but was originally told orally in the ancient Sumerian language (“Ancient Religions”). It is a mythical account and symbolic account of an actual Sumerian king, Gilgamesh, in search for immortality.<!--more-->\r\n<div>The epic embodies the values and ideals of the predominate culture at the time. The Epic also takes place in the same time period as the Great Flood similar to the story of Noah in the Genesis (“Ancient Religions”).</div><BR>\r\n<div>The main theme of the poem centers around death and the value of life. The main character, Gilgamesh, was a Sumerian king that lived around 2700 BCE in the area known today as modern Iraq (“Ancient Religions”). In the epic, he is depicted as an arrogant, ruthless, and powerful king who is of divine birth. His mother was a goddess and his father was a human, which makes him a demigod. Gilgamesh fell disfavor with the gods who decided to punish him. They sent Enkidu, a wild man the gods had created to kill Gilgamesh. Gilgamesh and Enkidu encounter each other and fight furiously until Gilgamesh finally wins. Enkidu submits. The two become good friends as they journey together through dangerous quests. Later on, Enkidu dies after the gods decided to inflict his death. Distressed by the death of his close friend, Gilgamesh begins a quest in search of immortality. He finds the immortal man who survived the Great Flood, Utnapishtim, who tests Gilgamesh to prove to him his irreversible fate of human mortality. Gilgamesh fails. Utapishtim’s wife, witnessing Gilgamesh’s disappointment, convinces her husband to be merciful. Utnapishtim then tells Gilgamesh of a plant that can restore youth. Gilgamesh obtains the plant and plans to share it with all the old men. A snake then steals and eats the plant. Gilgamesh comes back empty-handed and finally reconciled with his fate of morality. When he finally returns, he contributes great achievements to his people.</div><BR>\r\n<div>The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE (“The Epic”). The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE (“The Epic”). The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on wet clay with a stylus made out of bone or reed material to engrave characters or ideographs (“The Epic”). Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time (“The Epic”).</div><BR>\r\n<div>The Epic of Gilgamesh was typical for it’s time in that it included supernatural aspects and religion to explain events and ideas. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, otherwise called the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and is considered as sacred writing (“The Epic”). The Enuma Elish is another work created in about the same time period that was also as important and similar to the Epic of Gilgamesh. Both works tell of historical people or events that happened in a mythological context. Both the Epic of Gilgamesh and the Enuma Elish are sacred texts that also tell of historical events and a very symbolic and religious manner (Fiero). The Babylonian Creation Myth, for example, portrays the creation of the world, in which the young god, Marduk, slays the mother dragon, Taimat, depicting the transition from a Matriarchy to Patriarchy (Fiero). They also portray the polytheistic nature of Mesopotamian religions, which were the oldest known religions, giving us insight to the way the ancient people saw the world. Compared to today, the people of Mesopotamia had little entertainment. Listening to ancient lore was one of the few entertainments the people had back then. The Epic of Gilgamesh was appreciated in that it was not only a source of entertainment, but also a sacred work of literature that’ reflects the culture and beliefs of the ancient people of Mesopotamia as one of many things that defined them as a people.</div><BR>\r\n<div>Although The Epic of Gilgamesh was written many millennia ago, it is still enjoyed, studied, and passed on throughout the generations. The fact that it was written and translated from Sumerian to Akkadian (“World Religions”), one can infer that it was well received by the people of Mesopotamia. Even after the fall of Sumer, the Babylonians still preserved Sumerian legends, myths, and language (Westwood). There were also many versions of the epic it scattered throughout the region hence the many versions and fragments of the epic “from Hittite Anatolia, Syria, and Egypt. The 7th-century tablets were found at Nineveh in the library of Ashurbanipal, King of Assyria” (Sanders). The Epic of Gilgamesh portrays heroic exploits of that time, philosophical teachings, and world views about life. The Epic of Gilgamesh is still widely received today as it is still being translated and interpreted as a classic with many themes pertaining to friendship, life and death, eternal life, and “the process by which human beings become mature, moving from innocent and reckless adolescence to the awareness of values that are more real, though less apparent” (Pettinato) . It is being studied in high schools and colleges as part of literary education. It is currently still being printed in textbooks and encyclopedias. Many students of literature write essays about the Epic of Gilgamesh. Although the epic is still widely known today, the reception is not the same as it was back in it’s time due to cultural context and translation. The Sumerian language, which is the language the Epic of Gilgamesh is told, is almost obsolete if not extinct in this modern age. Yet, the character of Gilgamesh remains legendary, an inspirational figure that is often referenced in many modern works and popular culture today (“Gilgamesh”).</div><BR>\r\n<div>I found the Epic of Gilgamesh to be meditative and meaningful in that it tackles a concept that is still relevant in our civilization today. Despite all the scientific discoveries and technological advances in medicine and other life-prolonging sciences, all human beings face death, which many today have trouble coming to terms with. The epic addresses growth and decay. For example, a relevant situation in today’s world can been seen in the brotherly relationship between Enkidu and Gilgamesh (Pettinato). Although both grow very close, not even friendship can overcome death, illustrating the temporal quality of many things in life. The epic portrays life as something temporary and changes over time, relaying that people and places tend to disappear and one must learn to come to terms with it.</div><BR>\r\n<div>What is most significant about this work is the cultural similarities and differences between ancient Mesopotamia and today’s culture. Throughout all cultures and time, all people had to cope with the idea of death, which is still something relevant today although today’s knowledge, technology, and science allows us to understand the world around us and also to bypass things that were once really dire back then. Yet still, all things are temporary and one cannot completely alter the laws of nature.</div><BR>\r\n<div>It portrays values that were important at the time compared to the values we hold today. Such as how in the end of the epic, Gilgamesh dies. Although he is dead, he is still remembered as a great king who’s lasting achievements are valued and are significant in contribution to humanity for generations, which the epic implies is closest thing to immortality that human beings can achieve. Contributing to humanity in a positive manner is the one thing that future generations should aspire to.</div><BR><BR>\r\n<div style=\"text-align: center\">Works Cited:</div>\r\n<p style=\"text-align: center\"></p>\r\n\r\n<div>\"Ancient Religions of Egypt and Mesopotamia.\" World Religions Reference Library. Ed. 	Julie L. Carnagie, et al. Vol. 1: Almanac. Detroit: UXL, 2007. 37-67. Gale Virtual 	Reference Library. Web. 20 Feb. 2011.</div><BR>s\r\n<div>&lt;http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3448400012&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w&gt;</div><BR>\r\n<div>Fiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. 	McGraw-Hill, 2011.</div><BR>\r\n<div>Pettinato, Giovanni. \"Gilgamesh.\" Encyclopedia of Religion. Ed. Lindsay Jones. 2nd ed. 	Vol. 5. Detroit: Macmillan Reference USA, 2005. 3486-3489. Gale Virtual 	Reference Library. Web. 20 Feb. 2011.</div><BR>\r\n<div>&lt;http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3424501172&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w&gt;</div><BR>\r\n<div>Sandars, N.K. \"Epic of Gilgamesh.\" Reference Guide to World Literature. Ed. Sara 	Pendergast and Tom 	Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 	2003. 1246-1247. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div><BR>\r\n<div>&lt;http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3408400836&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w&gt;</div><BR>\r\n<div>\"The Epic of Gilgamesh.\" World Religions Reference Library. Ed. Julie L. Carnagie, et 	al. Vol. 5: Primary Sources. Detroit: UXL, 2007. 61-72. Gale Virtual 	Reference Library. Web. 20 Feb. 2011.</div><BR>\r\n<div>&lt;http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3448400105&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w&gt;</div><BR>\r\n<div>Westwood, Jennifer. \"Gilgamesh.\" Macmillan Encyclopedia of Death and Dying. Ed. 	Robert Kastenbaum. Vol. 1. New York: Macmillan Reference USA, 2002. 331-	334. Gale Virtual Reference Library. Web. 20 Feb. 2011.</div><BR>\r\n<div>&lt;http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3407200121&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w&gt;</div><BR>\r\n<div>\"Gilgamesh in Popular Culture.” Wikipedia, The Free Encyclopedia. Wikimedia 	Foundation, Inc. 22 July 2004. Web. 10 Aug. 2004. 	&lt;http://en.wikipedia.org/wiki/Gilgamesh_in_popular_culture&gt;</div>\r\n</div>\r\n</div>','The Epic of Gilgamesh','','inherit','open','open','','424-revision-20','','','2011-02-21 20:30:10','2011-02-22 02:30:10','',424,'http://jeanatacc.com/2011/?p=470',0,'revision','',0),(471,9,'2011-02-21 21:46:35','2011-02-22 03:46:35','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\r\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\r\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  <em>International Journal Of Aging &amp; Human Development</em> 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\r\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.\r\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 14 Feb. 2011.\r\nI used this article to help me explain how people think about Sophocles’s tragedy today.\r\n\r\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\r\nThis website helped me summarize and describe the story of Oedipus the King.\r\n\r\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\r\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\r\n\r\nWeismantel, Mary J. \"Life Cycle: Overview.\" <em>New Dictionary of the History of Ideas</em>. Ed.   Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. <em>Gale Virtual Reference Library</em>. Web. 21 Feb. 2011.\r\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-revision-6','','','2011-02-21 21:46:35','2011-02-22 03:46:35','',454,'http://jeanatacc.com/2011/?p=471',0,'revision','',0),(472,14,'2011-02-21 22:01:39','2011-02-22 04:01:39','Circus Maximus<!--more-->\n\nHallie Paxton                                                                                                                                                                         										February 21, 2011\n\nCircus Maximus\n\nThe Circus Maximus was an ancient racing stadium and mass entertainment venue in Rome.    It was mainly used for chariot racing, but was also used for other entertainment as well. It was the biggest stadium in Rome and measured 621 m in length and 118 m in width (Wikipedia).  It was built sometime in the 6<sup>th</sup> century and was said to be designed by the fifth king of Rome, Tarquinius Priscus. He created the first track for chariot racing in between the Palatine and Aventine hills (Circus Maximus). The Circus Maximus was rebuilt a couple of times during the Republic. Then Trajan remodeled and added onto it which left it being able to hold as many as 250,000 people (Boatwright 383).\n\nThe Romans learned how to do urban planning, chariot racing and many other things from the Etruscan kings. During the time the Circus Maximus was built the Etruscan kings ruled the Latin population. That is until 509 B.C.E. when the Latins overthrew the kings and slowly the monarchy turned into a government. There was a lot of class division at this time as well. There were the large land owners, the patricians, a lot of farmers and small landowners called plebeians. These were the groups that made up the agricultural population. The people were fighting the kings at first until they overthrew them. Then they were fighting among themselves to get power in the government (Fiero B1.139).\n\nThe Circus Maximus is typical of it era because there were many racing and entertainment stadiums all over Rome. It was the most popular form of entertainment at the time mostly because it was free. It was also typical because they would have a procession honoring the gods before the games began. They did this a lot back then in many different events to show their appreciation to the gods (Boatwright 73).\n\nThe Circus Maximus was a very innovative thing at the time because it gave free entertainment to the people of Rome. Even women could attend and sit with the men which was not common for this time. Also the poor were allowed to attend as well (The Circus Maximus). Also chariot racing allowed the lesser magistrates to be acknowledged by the public. Another uncommon thing that took place at the Circus Maximus was gladiator and beast fights, but not as often as most think (Boatwright 383 -386).\n\nBack then people loved going to the Circus Maximus. It was the most popular form of entertainment and was even looked at as a great place to meet a mate. There were not many things that poor people could do back then and this gave them a free source of entertainment where they could be themselves and have a good time. When Augustus took over the Circus Maximus was called the place to go if you wanted to meet other singles (Boatwright 383).\n\nAll of the recent articles published that I read just described the Circus Maximus in lengthy detail. I did find that what is left of the Circus Maximus is still being used for entertainment today in Rome. It is sometimes used for concerts and meetings since it is a large public park now. The 2006 Italian World Cup celebration was held there and over 700,000 people attended. It was also used in 2007 for a free concert put on by the British rock band Genesis (Wikipedia).\n\nI think that his work is meaningful because it shows how ancient Roman people lived their lives and spent their free time. The Circus Maximus was an amazing architectural structure that provided great entertainment for so many people at that time. Also, even though it is not still all here it is still being used for free entertainment, which I think is pretty amazing.\n\nThe Circus Maximus compares to many other amphitheaters and stadiums at that time, but the one it compares the most to is the Colosseum. The Colosseum covered six acres and could hold 50,000 spectators. The same kind of games were held at both, but chariot racing was the most popular game at both of them. The Circus Maximus was more popular because it was more well known and could hold more people (Fiero B1.154).\n\nI think that one of the most significant things bout this piece of work is that it brought together people that were in different social classes and forced them to communicate. It gave people opportunities that they would normally not have had. I also think it was important because it was the biggest and most popular stadium in Rome from its time. This piece of work sheds light on ancient Roman civilization and was firmly linked to Roman tradition.\n\n<span style=\"font-size: medium\">Work Cited Page</span>\n\n<span style=\"font-size: medium\"> </span>Circus Maximus. <em>http://www.aviewoncities.com/rome/circusmaximus.htm</em>. N.p., n.d. Web. 15 Feb. 2011.\n\nBoatwright, Mary T., Daniel J. Gargola, and Richard J. A. Talbert. <em>The Romans: From Village to Empire</em>. New York: Oxford University Press, 2004. 72-409. Print.\n\n<em>The Circus Maximus</em>. http://rome.mrdonn.org/circus.html, n.d. Web. 21 Feb. 2011.\n\n<em>Circus Maximus</em>. http://en.wikipedia.org/wiki/Circus_Maximus, n.d. <em>Wikipedia</em>. Web. 15 Feb. 2011.\n\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6thth ed. New York: McGraw Hill, 2011. B1.137-65. <em>McGraw Hill Connect</em>. Web. 10 Feb. 2011.','Circus Maximus','','inherit','open','open','','122-revision','','','2011-02-21 22:01:39','2011-02-22 04:01:39','',122,'http://jeanatacc.com/2011/?p=472',0,'revision','',0),(473,22,'2011-02-21 22:11:06','2011-02-22 04:11:06','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \n\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \n \nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly beliefe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\n\n\n\n\n\n\n\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-6','','','2011-02-21 22:11:06','2011-02-22 04:11:06','',419,'http://jeanatacc.com/2011/?p=473',0,'revision','',0),(474,1,'2011-02-21 22:02:07','2011-02-22 04:02:07','Circus Maximus<!--more-->\r\n\r\nHallie Paxton                                                                                                                                                                         										February 21, 2011\r\n\r\nCircus Maximus\r\n\r\nThe Circus Maximus was an ancient racing stadium and mass entertainment venue in Rome.    It was mainly used for chariot racing, but was also used for other entertainment as well. It was the biggest stadium in Rome and measured 621 m in length and 118 m in width (Wikipedia).  It was built sometime in the 6<sup>th</sup> century and was said to be designed by the fifth king of Rome, Tarquinius Priscus. He created the first track for chariot racing in between the Palatine and Aventine hills (Circus Maximus). The Circus Maximus was rebuilt a couple of times during the Republic. Then Trajan remodeled and added onto it which left it being able to hold as many as 250,000 people (Boatwright 383).\r\n\r\nThe Romans learned how to do urban planning, chariot racing and many other things from the Etruscan kings. During the time the Circus Maximus was built the Etruscan kings ruled the Latin population. That is until 509 B.C.E. when the Latins overthrew the kings and slowly the monarchy turned into a government. There was a lot of class division at this time as well. There were the large land owners, the patricians, a lot of farmers and small landowners called plebeians. These were the groups that made up the agricultural population. The people were fighting the kings at first until they overthrew them. Then they were fighting among themselves to get power in the government (Fiero B1.139).\r\n\r\nThe Circus Maximus is typical of it era because there were many racing and entertainment stadiums all over Rome. It was the most popular form of entertainment at the time mostly because it was free. It was also typical because they would have a procession honoring the gods before the games began. They did this a lot back then in many different events to show their appreciation to the gods (Boatwright 73).\r\n\r\nThe Circus Maximus was a very innovative thing at the time because it gave free entertainment to the people of Rome. Even women could attend and sit with the men which was not common for this time. Also the poor were allowed to attend as well (The Circus Maximus). Also chariot racing allowed the lesser magistrates to be acknowledged by the public. Another uncommon thing that took place at the Circus Maximus was gladiator and beast fights, but not as often as most think (Boatwright 383 -386).\r\n\r\nBack then people loved going to the Circus Maximus. It was the most popular form of entertainment and was even looked at as a great place to meet a mate. There were not many things that poor people could do back then and this gave them a free source of entertainment where they could be themselves and have a good time. When Augustus took over the Circus Maximus was called the place to go if you wanted to meet other singles (Boatwright 383).\r\n\r\nAll of the recent articles published that I read just described the Circus Maximus in lengthy detail. I did find that what is left of the Circus Maximus is still being used for entertainment today in Rome. It is sometimes used for concerts and meetings since it is a large public park now. The 2006 Italian World Cup celebration was held there and over 700,000 people attended. It was also used in 2007 for a free concert put on by the British rock band Genesis (Wikipedia).\r\n\r\nI think that his work is meaningful because it shows how ancient Roman people lived their lives and spent their free time. The Circus Maximus was an amazing architectural structure that provided great entertainment for so many people at that time. Also, even though it is not still all here it is still being used for free entertainment, which I think is pretty amazing.\r\n\r\nThe Circus Maximus compares to many other amphitheaters and stadiums at that time, but the one it compares the most to is the Colosseum. The Colosseum covered six acres and could hold 50,000 spectators. The same kind of games were held at both, but chariot racing was the most popular game at both of them. The Circus Maximus was more popular because it was more well known and could hold more people (Fiero B1.154).\r\n\r\nI think that one of the most significant things bout this piece of work is that it brought together people that were in different social classes and forced them to communicate. It gave people opportunities that they would normally not have had. I also think it was important because it was the biggest and most popular stadium in Rome from its time. This piece of work sheds light on ancient Roman civilization and was firmly linked to Roman tradition.\r\n\r\n<span style=\"font-size: medium\">Work Cited Page</span>\r\n\r\n<span style=\"font-size: medium\"> </span>Circus Maximus. <em>http://www.aviewoncities.com/rome/circusmaximus.htm</em>. N.p., n.d. Web. 15 Feb. 2011.\r\n\r\nBoatwright, Mary T., Daniel J. Gargola, and Richard J. A. Talbert. <em>The Romans: From Village to Empire</em>. New York: Oxford University Press, 2004. 72-409. Print.\r\n\r\n<em>The Circus Maximus</em>. http://rome.mrdonn.org/circus.html, n.d. Web. 21 Feb. 2011.\r\n\r\n<em>Circus Maximus</em>. http://en.wikipedia.org/wiki/Circus_Maximus, n.d. <em>Wikipedia</em>. Web. 15 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6thth ed. New York: McGraw Hill, 2011. B1.137-65. <em>McGraw Hill Connect</em>. Web. 10 Feb. 2011.','Circus Maximus','','inherit','open','open','','122-revision-2','','','2011-02-21 22:02:07','2011-02-22 04:02:07','',122,'http://jeanatacc.com/2011/?p=474',0,'revision','',0),(475,22,'2011-02-21 22:41:22','2011-02-22 04:41:22','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \n\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \n \nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\n\n\n      REFERENCES:  \n\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\n\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\n\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\n\n\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \n\n\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\n\n\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\n\n\n\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-7','','','2011-02-21 22:41:22','2011-02-22 04:41:22','',419,'http://jeanatacc.com/2011/?p=475',0,'revision','',0),(476,22,'2011-02-21 22:41:42','2011-02-22 04:41:42','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\r\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \r\n\r\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\r\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \r\n \r\nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\r\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\r\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\r\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\r\n\r\nREFERENCES:  \r\n\r\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\r\n\r\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\r\n\r\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\r\n\r\n\r\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \r\n\r\n\r\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\n\r\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-8','','','2011-02-21 22:41:42','2011-02-22 04:41:42','',419,'http://jeanatacc.com/2011/?p=476',0,'revision','',0),(477,22,'2011-02-21 23:02:43','2011-02-22 05:02:43','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle111.jpg\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle111-249x300.jpg\" alt=\"\" width=\"249\" height=\"300\" class=\"aligncenter size-medium wp-image-480\" /></a>Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\r\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \r\n\r\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\r\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \r\n \r\nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\r\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\r\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\r\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\r\n\r\nREFERENCES:  \r\n\r\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\r\n\r\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\r\n\r\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\r\n\r\n\r\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \r\n\r\n\r\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\n\r\n','ARISTOTLES POETICS ','','inherit','open','open','','419-autosave','','','2011-02-21 23:02:43','2011-02-22 05:02:43','',419,'http://jeanatacc.com/2011/?p=477',0,'revision','',0),(478,22,'2011-02-21 22:57:31','2011-02-22 04:57:31','','aristotle1[1]','','inherit','open','open','','aristotle11','','','2011-02-21 22:57:31','2011-02-22 04:57:31','',419,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle11.jpg',0,'attachment','image/jpeg',0),(481,22,'2011-02-21 23:01:09','2011-02-22 05:01:09','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\r\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \r\n\r\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\r\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \r\n \r\nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\r\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\r\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\r\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\r\n\r\nREFERENCES:  \r\n\r\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\r\n\r\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\r\n\r\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\r\n\r\n\r\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \r\n\r\n\r\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\n\r\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-10','','','2011-02-21 23:01:09','2011-02-22 05:01:09','',419,'http://jeanatacc.com/2011/?p=481',0,'revision','',0),(479,22,'2011-02-21 22:42:42','2011-02-22 04:42:42','Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\r\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \r\n\r\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\r\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \r\n \r\nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\r\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\r\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\r\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\r\n\r\nREFERENCES:  \r\n\r\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\r\n\r\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\r\n\r\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\r\n\r\n\r\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \r\n\r\n\r\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\n\r\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-9','','','2011-02-21 22:42:42','2011-02-22 04:42:42','',419,'http://jeanatacc.com/2011/?p=479',0,'revision','',0),(480,22,'2011-02-21 23:02:11','2011-02-22 05:02:11','','aristotle1[1]','','inherit','open','open','','aristotle11-2','','','2011-02-21 23:02:11','2011-02-22 05:02:11','',419,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle111.jpg',0,'attachment','image/jpeg',0),(482,1,'2011-02-21 23:02:59','2011-02-22 05:02:59','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle111.jpg\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/aristotle111-249x300.jpg\" alt=\"\" width=\"249\" height=\"300\" class=\"aligncenter size-medium wp-image-480\" /></a>Written by a philosopher and scientics who was not born 20 years after the death of Sophocles and Euripides, is an unlikely candidate for founder of european dramatic theory. inb fact, it has no rival offering the earlies view of the origins and form of greek tragedy as well as theoretical base of all subsequent serious drama. the work of aritotles have no comparison to any  other poet. because his work is original, he aimed the best poetry by comparing the good , the bad, the natural, the human, and more important the unrevealed. Moreover in the modern era the word \"tragedy\" is often use to describe a terrrible act or fate that befalls an unwitting individual\r\nwith regard to drama, however, the word (and the forn it describes) has a very different meaning. [as literary gender tragedy deals not to much with catastrophic events as how these events work to affect individuals in shaping their character and in determinating their fate. the protagonist becomes a tragic hero not because of what befalls but rather as a result of the manner in which he comfronts his destiny. in the poetics of the world first treatise on literary criticism, the greek philosopher Aristotle (384-322 b.c.a)describe tragedy as an imitation of action involving incidents that arose pity and fear. Tragic action, he argues, should involve an error in judgment made by an individual who is “better than the ordinary man” but with whom the audience may sympathize..]  \r\n\r\nMany people admired the work of Aristotle’s because of the mystery inside his poetry or the tragedy and drama he presented as in unusual ways. Aristotle’s way of presenting poetic’s was the main difference between him and the rest of the poets at his time.  Aristotle’s is been recognized in the books of history for his outrageous work and unusual way of thinking,besides his critical point of view about life and huamanity gave him a sense of confidence over his peers.\r\nNow the life of aritotles as a philosopher started in Plato\'s academy he was a  young macedonian whose ultimately contributins to philosophy rivaled those of this teacher After a period of travel in the eastern Mediterranean and a brief career as tutor. Aristotle returned to Athens and founded a school known as the Lyceum. Aristotle\'s habit of walking up and down as he lectured in the peripatos (“covered walkway”) of the school gave him the nickname the “peripatetic philosopher.” His teachings, which exist only in the form of lecture notes compiled by his students, the notes cover a wider and more practical range of subjects than those of Plato which it basiclly means that aristotles was more acured on the performance of his work it explaned in more detail. \r\n \r\nin addiction,Aristotle did not accept Plato\'s Theory of Forms. For him, the real was not a reflection of ideal Forms, but existed in the objects of the material world. He equated form (or essence) with the true nature of a thing, and held that its full possession was achieved by the proper performance of its function. Questioning Plato\'s theory of an eternal psyche, he theorized that the portion of the soul identified with reason (and with the impersonal force he called the Unmoved Mover) might be immortal.\r\nAs far as i can judge Aristotles poetics were one of its kind not only because he aimed the real, the true and the unreveal, but more importantly because he saw and deeply understood how life was. his passion for humanity was an examination of values. values that he called \"the good life\" [ . Is not happiness the one goal to which all human beings aspire? If so, then how does one achieve it? The answer, says Aristotle, lies in recognizing one\'s defining essence, and functioning to fulfill i\r\nfunction of the eye is to see; the function of the racehorse is to run fast; the function of a knife is to cut, and so on. How well a thing performs is synonymous with its excellence or virtue (in Greek, the word arete denotes both): the excellence of the eye, then, lies in seeing well; the excellence of a racehorse lies in how fast it runs; the excellence of a knife depends on how well it cuts, and so on. The unique function of the human being, concludes Aristotle, is the ability to reason; hence, the excellence of any human creature lies in the exercise of reason.]\r\nbased on my understanding aristotles has been one of the most famous philosophers not just for his poetry but because the way he describe it and feel about it. Moreover he aimed the true, the good and the bad about man kind, therefore i strongly believe that future generations should have the opportunity to learn and remember the principles and moral that all human kind should have.\r\n\r\nREFERENCES:  \r\n\r\nAristotle, Metaphysics, Joe Sachs (trans.), Green Lion Press, 1999\r\n\r\nCopyright statement: The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. World Wide Web presentation is copyright (C) 1994-2000, Daniel C. Stevenson, Web Atomics. Direct permission requests to classics@classics.mit.edu\r\n\r\nClassical Quarterly; 2005, Vol. 55 Issue 2, p435-446, 12p\r\n\r\n\r\nThe humanities tradition  vol. 1 Fierro 6e. Chap 5 pg. b1. 99 \r\n\r\n\r\nAristotle. (1977). Politics (trans. H. Raham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\nAristotle. (1990). Nicomachean ethics (trans. H. Rackham). Cambridge, Mass: Harvard University Press.\r\n\r\n\r\n\r\n','ARISTOTLES POETICS ','','inherit','open','open','','419-revision-11','','','2011-02-21 23:02:59','2011-02-22 05:02:59','',419,'http://jeanatacc.com/2011/?p=482',0,'revision','',0),(484,7,'2011-02-22 12:49:36','2011-02-22 18:49:36','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\n\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)   A cataclysmic event, the eruption of Mount Visuviu in 79 A.D., threatened to destroy all of the art work in the Pompeii and Herculaneum. Though the Villa was buried in ash, the frescoes survived, preserved under the ash and protected by the walls of the building. Herculaneum was rediscovered in 1738. (Web) In 1909-1910 the owner of the land where the Villa sits partially excavated but the government took over the official excavation in 1929. (Deem, James M.)  other frescoes were found in the 60 rooms of the Villa; however, it is not clear how many there are today. A review of the floor plan  found here offers information on the themes of each room in the Villa based on frescoes found there. The artists rendering aids in understanding the wealth and means of its owners though it is also noted, the Villa of the Mysteries was not the largest house; that honor is reserved for the Villa Urbana. Professor  Andrew Wallace-Hadrill classified structures (Grand, Public, Private and Humble) which help to underscoring the gap between the common<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/villa-of-mysteries-plan.jpg\"><img class=\"size-medium wp-image-486 alignleft\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/villa-of-mysteries-plan-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>er and the wealthy. The classification for a typical home features \"8 -13 rooms, most with an integrated workshop or shop, symmetrical plan &amp; common architectural features eg atrium &amp; gardens.\" (Wallace-Hadrill)\n\n<a href=\"http://www.umich.edu/%7Ekelseydb/Exhibits/villa/bibliography.html\">http://www.umich.edu/~kelseydb/Exhibits/villa/bibliography.html</a>\n\nThe Villa is placed on a hill, taking advantage of what seems to be a view of the sea. This must have been an impressive sight for those  approaching ships approaching the Bay of Naples.\n\n<img src=\"/Users/Helen/AppData/Local/Temp/moz-screenshot-3.png\" alt=\"\" />\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\n\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescoes. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\"><img class=\"alignnone size-full wp-image-272\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.\n<p style=\"text-align: center\"><img class=\"aligncenter size-full wp-image-273\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\" alt=\"\" width=\"136\" height=\"160\" />http://www.answers.com/topic/telephus</p>\nThe most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (above) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg\"><img class=\"aligncenter size-medium wp-image-281\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1-300x257.jpg\" alt=\"\" width=\"300\" height=\"257\" /></a>http://www.artknowledgenews.com/Birmingham_Museum_of_Art_Pompeii_Erupts.html\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo, also referred to as Nero as Apollo, in the image below to mythical fresco on the right depicting Silen and Satires </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent.\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\"><img class=\"aligncenter size-full wp-image-283\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\" alt=\"\" width=\"191\" height=\"263\" /></a>\n<p style=\"text-align: center\">http://www.fr-novaroma.com/E_cards/</p>\nBoth bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo, frescoes from a building just south of Pompeii, features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling.\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg\"><img class=\"alignright size-medium wp-image-289\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1-300x158.jpg\" alt=\"\" width=\"300\" height=\"158\" /></a>\n\nThematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times(see image below). The Apollo works (right) are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional\n\nimage source: http://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\nstructures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg\"><img class=\"alignright size-medium wp-image-310\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels-300x291.jpg\" alt=\"\" width=\"300\" height=\"291\" /></a>\n\nThe content of the imagery is quite risqué in the Villa of the Mysteries. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression.\n\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\n\nFrom a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nA periodical piece from 2008 described an important exhibition at the National Museum in Washington D.C. described the theme of the exhibition as a “tension between modesty and extravagance.” (Rosenberg, Karen)  The frescoes at the Villa of Mysteries offer a unique opportunity; and opportunity to convey to the future a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history using the very same tension described in the periodical.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\n\nWallace-Hardrill. Professor Andrew.  Houses and society in Pompeii and Herculaneum. Princeton University Press. Princeton, N.J. 1994. Page 17.\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall, New Jersey, 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nRosenberg, Karen. <em>Pompeii Style, B.C.E. (Before Catastrophic Eruption)</em>. October 23, 2008.  The New York Times, Art &amp; Design. Web. 2/16/2011\n\n<span>found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span>\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><img src=\"/Users/Helen/AppData/Local/Temp/moz-screenshot-4.png\" alt=\"\" /></div>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-autosave','','','2011-02-22 12:49:36','2011-02-22 18:49:36','',167,'http://jeanatacc.com/2011/?p=484',0,'revision','',0),(485,7,'2011-02-18 17:23:42','2011-02-18 23:23:42','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)   A cataclysmic event, the eruption of Mount Visuviu in 79 A.D., threatened to destroy all of the art work in the Pompeii and Herculaneum. Though the Villa was buried in ash, the frescoes survived, preserved under the ash and protected by the walls of the building. In 1909-1910 the owner of the land where the Villa sits partially excavated but the government took over the official excavation in 1929. (Deem, James M.)                                                                                                                                                                                                                          <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescoes. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\"><img class=\"alignnone size-full wp-image-272\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>\r\n\r\nhttp://www.corbisimages.com/Enlargement/MI001556.html\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.\r\n<p style=\"text-align: center\"><img class=\"aligncenter size-full wp-image-273\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\" alt=\"\" width=\"136\" height=\"160\" />http://www.answers.com/topic/telephus</p>\r\nThe most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (above) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg\"><img class=\"aligncenter size-medium wp-image-281\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1-300x257.jpg\" alt=\"\" width=\"300\" height=\"257\" /></a>http://www.artknowledgenews.com/Birmingham_Museum_of_Art_Pompeii_Erupts.html\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo, also referred to as Nero as Apollo, in the image below to mythical fresco on the right depicting Silen and Satires </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\"><img class=\"aligncenter size-full wp-image-283\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\" alt=\"\" width=\"191\" height=\"263\" /></a>\r\n<p style=\"text-align: center\">http://www.fr-novaroma.com/E_cards/</p>\r\nBoth bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo, frescoes from a building just south of Pompeii, features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg\"><img class=\"alignright size-medium wp-image-289\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1-300x158.jpg\" alt=\"\" width=\"300\" height=\"158\" /></a>\r\n\r\nThematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times(see image below). The Apollo works (right) are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional\r\n\r\nimage source: http://www.nytimes.com/2008/10/24/arts/design/24pomp.html\r\n\r\nstructures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg\"><img class=\"alignright size-medium wp-image-310\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels-300x291.jpg\" alt=\"\" width=\"300\" height=\"291\" /></a>\r\n\r\nThe content of the imagery is quite risqué in the Villa of the Mysteries. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression.\r\n\r\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\r\n\r\nFrom a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nA periodical piece from 2008 described an important exhibition at the National Museum in Washington D.C. described the theme of the exhibition as a “tension between modesty and extravagance.” (Rosenberg, Karen)  The frescoes at the Villa of Mysteries offer a unique opportunity; and opportunity to convey to the future a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history using the very same tension described in the periodical.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\n<strong>Works Cited</strong>\r\n\r\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall, New Jersey, 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nRosenberg, Karen. <em>Pompeii Style, B.C.E. (Before Catastrophic Eruption)</em>. October 23, 2008.  The New York Times, Art &amp; Design. Web. 2/16/2011\r\n\r\n<span>found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-28','','','2011-02-18 17:23:42','2011-02-18 23:23:42','',167,'http://jeanatacc.com/2011/?p=485',0,'revision','',0),(486,7,'2011-02-22 12:04:30','2011-02-22 18:04:30','','villa of mysteries plan','','inherit','open','open','','villa-of-mysteries-plan','','','2011-02-22 12:04:30','2011-02-22 18:04:30','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/villa-of-mysteries-plan.jpg',0,'attachment','image/jpeg',0),(487,7,'2011-02-22 11:23:42','2011-02-22 17:23:42','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)   A cataclysmic event, the eruption of Mount Visuviu in 79 A.D., threatened to destroy all of the art work in the Pompeii and Herculaneum. Though the Villa was buried in ash, the frescoes survived, preserved under the ash and protected by the walls of the building. Herculaneum was rediscovered in 1738. (Web) In 1909-1910 the owner of the land where the Villa sits partially excavated but the government took over the official excavation in 1929. (Deem, James M.)  other frescoes were found in the 60 rooms of the Villa; however, it is not clear how many there are today. A review of the floor plan  found here offers information on the themes of each room in the Villa based on frescoes found there. The artists rendering aids in understanding the wealth and means of its owners though it is also noted, the Villa of the Mysteries was not the largest house; that honor is reserved for the Villa Urbana. Professor  Andrew Wallace-Hadrill classified structures (Grand, Public, Private and Humble) which help to underscoring the gap between the commoner and the wealthy. The classification for a typical home features \"8 -13 rooms, most with an integrated workshop or shop, symmetrical plan &amp; common architectural features eg atrium &amp; gardens.\" (          ) Note the way the Villa is placed on the hill, taking advantage of what seems to be a view of the sea and see how impressive this structure must have been when viewed from a approaching ship approaching the Bay of Naples.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescoes. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\"><img class=\"alignnone size-full wp-image-272\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>\r\n\r\nhttp://www.corbisimages.com/Enlargement/MI001556.html\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.\r\n<p style=\"text-align: center\"><img class=\"aligncenter size-full wp-image-273\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\" alt=\"\" width=\"136\" height=\"160\" />http://www.answers.com/topic/telephus</p>\r\nThe most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (above) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg\"><img class=\"aligncenter size-medium wp-image-281\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1-300x257.jpg\" alt=\"\" width=\"300\" height=\"257\" /></a>http://www.artknowledgenews.com/Birmingham_Museum_of_Art_Pompeii_Erupts.html\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo, also referred to as Nero as Apollo, in the image below to mythical fresco on the right depicting Silen and Satires </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\"><img class=\"aligncenter size-full wp-image-283\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\" alt=\"\" width=\"191\" height=\"263\" /></a>\r\n<p style=\"text-align: center\">http://www.fr-novaroma.com/E_cards/</p>\r\nBoth bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo, frescoes from a building just south of Pompeii, features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg\"><img class=\"alignright size-medium wp-image-289\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1-300x158.jpg\" alt=\"\" width=\"300\" height=\"158\" /></a>\r\n\r\nThematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times(see image below). The Apollo works (right) are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional\r\n\r\nimage source: http://www.nytimes.com/2008/10/24/arts/design/24pomp.html\r\n\r\nstructures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg\"><img class=\"alignright size-medium wp-image-310\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels-300x291.jpg\" alt=\"\" width=\"300\" height=\"291\" /></a>\r\n\r\nThe content of the imagery is quite risqué in the Villa of the Mysteries. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression.\r\n\r\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\r\n\r\nFrom a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nA periodical piece from 2008 described an important exhibition at the National Museum in Washington D.C. described the theme of the exhibition as a “tension between modesty and extravagance.” (Rosenberg, Karen)  The frescoes at the Villa of Mysteries offer a unique opportunity; and opportunity to convey to the future a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history using the very same tension described in the periodical.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\n<strong>Works Cited</strong>\r\n\r\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall, New Jersey, 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nRosenberg, Karen. <em>Pompeii Style, B.C.E. (Before Catastrophic Eruption)</em>. October 23, 2008.  The New York Times, Art &amp; Design. Web. 2/16/2011\r\n\r\n<span>found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-29','','','2011-02-22 11:23:42','2011-02-22 17:23:42','',167,'http://jeanatacc.com/2011/?p=487',0,'revision','',0),(491,36,'2011-02-23 23:08:44','2011-02-24 05:08:44','<em>             The Art of Love</em> is a didactic poem created by Ovid (a roman elegiac and epic poet).  It was created about 2-1 BC.  The Art of Love is a poem of love that is divided into three sections: “first telling men how to choose and capture their chosen women, second telling men how to keep this woman, and third directed at women, instructing them how to behave in reaction to the behavior suggested to men in the first two books.” (Reference guide to world literature) The poem consists of metaphors for men to master women.  The whole idea of this poem is love, but for men meaning sexual. For Ovid having a lot of experience he quoted “what I write, believe me, I have practiced.”  The arts of love was a great success that of Ovid and especially during the Middle Ages and high ages.\r\n\r\n            The reason that “The art of love” was created was because Ovid felt what they called Tristia. His poem brought people to think of many views. Some people agree with what he said, but then others felt offended. During its time it won the poet eternal fame.\r\n\r\n            Many people today still read the poem of The Art of Love. It’s a great story for both women and men to read.  And in my point of view I agree in today’s society if girl were to read this magnificent work they would agree when Ovid talks about how “if a woman follows a beauty regimen specific to herself and exudes “elegance”, then she will be seen as desirable to many men.” (Poetry connection)  Many men know a day’s judge a women by the way girl is dress and that exactly what Ovid talks about. `By the way that Ovid expresses him in B.C about how women and men are seen, many things have not been changed.\r\n\r\n            What I found meaningful about The Art of Love is about how Ovid gives both men and women advice on love. It’s surprising when someone from experience talks about what they went through and still give great advice.  But the bad thing about this poem is that it could be taken as two ways: sex or love.\r\n\r\n                                                                                Work Cited\r\n\r\nGraham, Colin. \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3408400709&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">The Art of Love (Ars Amatoria) Poem by Ovid, C. 1 BC</a>.\" <span style=\"text-decoration: underline\">Reference Guide to World Literature</span>. Ed. Sara Pendergast and Tom Pendergast. Vol. 2: Works. 3<sup>rd</sup> ed. Detroit: St. James Press, 2003. 1142-1143.\r\n\r\nN.p.: n.p., n.d. <em>Poetry Connection</em>. Web. 23 Feb. 2011.\r\n\r\n \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3404704911&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">Ovid</a>.\" <span style=\"text-decoration: underline\">Encyclopedia of World Biography</span>. Vol. 12. 2<sup>nd</sup> ed. Detroit: Gale, 2004. 34-36. <span style=\"text-decoration: underline\">Gale Virtual Reference Library</span>. Gale. Austin Community College Libraries. 31 Jan. 2011','The Art of Love','','inherit','open','open','','489-revision-2','','','2011-02-23 23:08:44','2011-02-24 05:08:44','',489,'http://jeanatacc.com/2011/?p=491',0,'revision','',0),(492,36,'2011-02-23 23:08:54','2011-02-24 05:08:54','<em>             The Art of Love</em> is a didactic poem created by Ovid (a roman elegiac and epic poet).  It was created about 2-1 BC.  The Art of Love is a poem of love that is divided into three sections: “first telling men how to choose and capture their chosen women, second telling men how to keep this woman, and third directed at women, instructing them how to behave in reaction to the behavior suggested to men in the first two books.” (Reference guide to world literature) The poem consists of metaphors for men to master women.  The whole idea of this poem is love, but for men meaning sexual. For Ovid having a lot of experience he quoted “what I write, believe me, I have practiced.”  The arts of love was a great success that of Ovid and especially during the Middle Ages and high ages.\r\n\r\n            The reason that “The art of love” was created was because Ovid felt what they called Tristia. His poem brought people to think of many views. Some people agree with what he said, but then others felt offended. During its time it won the poet eternal fame.\r\n\r\n            Many people today still read the poem of The Art of Love. It’s a great story for both women and men to read.  And in my point of view I agree in today’s society if girl were to read this magnificent work they would agree when Ovid talks about how “if a woman follows a beauty regimen specific to herself and exudes “elegance”, then she will be seen as desirable to many men.” (Poetry connection)  Many men know a day’s judge a women by the way girl is dress and that exactly what Ovid talks about. `By the way that Ovid expresses him in B.C about how women and men are seen, many things have not been changed.\r\n\r\n            What I found meaningful about The Art of Love is about how Ovid gives both men and women advice on love. It’s surprising when someone from experience talks about what they went through and still give great advice.  But the bad thing about this poem is that it could be taken as two ways: sex or love.\r\n\r\n                                                                                Work Cited\r\n\r\nGraham, Colin. \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3408400709&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">The Art of Love (Ars Amatoria) Poem by Ovid, C. 1 BC</a>.\" <span style=\"text-decoration: underline\">Reference Guide to World Literature</span>. Ed. Sara Pendergast and Tom Pendergast. Vol. 2: Works. 3<sup>rd</sup> ed. Detroit: St. James Press, 2003. 1142-1143.\r\n\r\nN.p.: n.p., n.d. <em>Poetry Connection</em>. Web. 23 Feb. 2011.\r\n\r\n \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3404704911&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">Ovid</a>.\" <span style=\"text-decoration: underline\">Encyclopedia of World Biography</span>. Vol. 12. 2<sup>nd</sup> ed. Detroit: Gale, 2004. 34-36. <span style=\"text-decoration: underline\">Gale Virtual Reference Library</span>. Gale. Austin Community College Libraries. 31 Jan. 2011','The Art of Love','','inherit','open','open','','489-revision-3','','','2011-02-23 23:08:54','2011-02-24 05:08:54','',489,'http://jeanatacc.com/2011/?p=492',0,'revision','',0),(498,11,'2011-02-25 16:03:58','2011-02-25 22:03:58','<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Plato’s </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">(approx. 399 B.C.E)</span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<img class=\"aligncenter size-medium wp-image-504\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Plato1-245x300.jpg\" alt=\"Raffaello Sanzio\'s Plato\" width=\"245\" height=\"300\" /></span>\r\n<p style=\"text-align: center;\">http://www.mrdowling.com/701-plato.html</p>\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"><!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Republic</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">nomos,</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\r\n<p style=\"text-align: left; margin-top: 0pt; text-indent: 36pt; margin-bottom: 0pt; margin-left: 36pt;\"><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent; font-style: italic; font-family: Times New Roman; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">telos </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">of the </span><span style=\"background-color: transparent; font-style: italic; font-family: Times New Roman; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">polis </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent; font-style: italic; font-family: Times New Roman; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">polis</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Crito.</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Works Cited:</span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Athenaeum Library of </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Philosophy</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">. N.p., </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\r\n<p style=\"margin-top: 0pt; text-indent: -33pt; margin-bottom: 0pt; margin-left: 36pt;\"><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Plato\'s Crito</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">2010. Ditial.</span></p>\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">, Edward N. </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Protevi</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent; font-style: italic; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">Academic Earth</span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\r\n\r\n<span style=\"background-color: transparent; font-style: normal; font-family: Arial; color: #000000; font-size: 11pt; vertical-align: baseline; font-weight: normal; text-decoration: none;\"> </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','publish','open','open','','a-proposal-for-perpetuation-law-and-obedience-crito-style','','','2011-05-10 12:21:42','2011-05-10 18:21:42','',0,'http://jeanatacc.com/2011/?p=498',0,'post','',4),(493,9,'2011-02-24 13:54:21','2011-02-24 19:54:21','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\nConsidered one of the great tragedians of ancient Greece, Sophocles (496-406 B.C.E.) produced his most famed and influential play, ‘Oedipus the King.’  Introduced to Greek drama around 430 B.C., ‘Oedipus the King’ became Sophocles’ greatest achievement, creating a new style of tragedy to theatrical performances, setting the stage for psychological theories, and providing an illustrious description of Athenian society for us today.   <!--more-->“Aristotle cites it as the most brilliant example of theatrical plot, the model for all to follow…” (qtd in Knox 28).  As the second of Sophocles’ three Theban plays, it set the groundwork for dramatic action between the individual and fate.  Throughout history, theatrical performances have developed in various forms; and without Sophocles’ influence in dramatic tragedy, these forms may not exist today.  ‘Oedipus the King’ brought about entertainment and a true tragic hero to the Greek audience with its skillful construction, thus it should be saved for future generations to understand how theatre developed into how it is presented today.\n\nOur tragedy begins when the citizens of Thebes come to their beloved ruler with cries of help to relieve them of a deadly plague. Oedipus is then informed by the Delphic oracle that the murderer of King Laius must first be punished for the city to be cured.  Oedipus, quickly blaming others, investigates and sets a curse on the murderer, unknowingly cursing himself (Brockett 71).  We soon discover that before Oedipus became king, he had solved the Sphynx’s riddle, thus rescuing the city of Thebes and rewarded the widowed queen, Jocasta.  He had come to meet the Sphynx on his journey away from home, to prevent the prophecy of killing his father and marrying his mother.  The plot thickens when we learn that Oedipus was not born of the parents he had believed to be from and that his actual parents, the king and the queen of Thebes, also tried to escape their fate by abandoning their son.  From “obsessive reconstruction of his own hidden past,” Oedipus learns that he did indeed kill his father on his journey to Thebes, unfortunately fulfilling the prophecy, and blinding himself for self-punishment (Sophocles).  The tragedy builds emotion and empathy of the character as it draws the audience, scene-by-scene, to the hidden past and the ultimate truth.\n\n“Oedipus the King” is uniquely structured around the characters where we find Oedipus as a tragic hero.  As the play progresses, the audience, as well as Oedipus, travel back in time and learn that it was he who killed his father, King Laius, and married his mother, becoming both brother and father to his children.  Sophocles organizes his play by developing the themes of: “uncertainty of human destiny” and “the limited ability of human beings to control their fate” (Brockett 74).  Oedipus becomes this tragic hero, because although he is seemingly tied down to his unfortunate destiny, his character is completely free through his actions of arriving upon his own doom.  At the beginning of the play, he calls for the punishment and dishonor of the murderer, and the play finishes off with him fulfilling the prophecy and the promise to the city by sticking needles in his eyes.  “In him, Sophocles achieved one of the enduring definitions of the tragic hero—that of a man for whom the liberation of the self is a necessity” (Tragedy).  Oedipus finds greater intent for the safety of his people, despite his unintentional sin.  The unique formality of the play introduces to the theatre world a creative style enveloping the character instead of the plot thus proving to have been beneficial to the production of theatre today and for the future.\n\nCountless stories have been passed down through generations and generations, generally by word of mouth.  Theatre as a means of presenting oneself to an audience, however, dates back, in the Western world, in ancient Greece.  During this period, Greek drama was developed to address the relationship between the individual, the community, and the gods (Fiero).  The performances of the plays that consisted of tragedies and comedies occurred during the festivals of Dionysus, god of fertility and wine.  Among the greatest playwrights of ancient Greece and history, Sophocles performed and competed at these festivals and made his name with the production of “Oedipus the King”.  Also, during this time, like most of history, men had a strong hold in the society where women and slaves had virtually no voice (Brockett 61).  Usually, young boys would play the woman’s role in the play.  In the festivals, there were generally only three actors who spoke, therefore the same actor may have played several roles for a play (67).  Social discrimination has been evident throughout history, limiting many forms of art and expression.  It is interesting to see how much has changed since then and how much hasn’t.  Finally, being affected by the war, a deadly plague continuously struck the city of Athens, causing the Athenians to look to the gods (Knox).  “Oedipus the King” illustrates the similarities of the Athenian people so the audience can empathize with the characters in the play.\n\n“Oedipus the King” was a play typical of its era by presenting dramatic action in the form of tragedy.  During this time, the Athenians worshipped many gods and even built theatres surrounding an altar.  Much of Greek tragedy “emphasized the attempts of human characters to control their own destinies” (Brockett).  Oedipus, along with Jocasta and the king, attempted to escape the will of the gods which ultimately lead to their doom.  Also, during this period, choruses were used during performances to comment and summarize the events of the play to the audience.  Sophocles uses this to structurally divide his scenes that were performed by three male actors.  By producing a strong-willed character, Sophocles creates a tragic hero with the downfall of Oedipus, one of the many tragic heroes created during the beginning of Greek drama.\n\nBecause of Sophocles’ unusual and innovative style that stood out from the other great tragedian playwrights of his time, “Oedipus the King” is still considered one of the greatest tragedies today.  Sophocles lengthens the resolution scene of the play focusing on how Oedipus deals with the knowledge of the truth (Brockett 73).  Instead of concentrating on the actions that Oedipus takes to find the truth, Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).  The audience thus becomes involved with the questions to follow up Oedipus’ discovery of the truth, drawing in more attention to psychological and moral attributes rather than physicality.\n\nDuring the period of ancient Greek theatre, plays were presented to the whole community, aside from women and slaves, for entertainment and ritualistic purposes.  Sophocles brought reality to the stage in his production of “Oedipus the King,” so that the Athenians were able to view themselves on a contemporary perspective (Knox 30).  Not only was the plague at the beginning of the play relevant to the time period in Athens, but also the characterization of Oedipus himself.  According to Knox, Oedipus portrays many similar Athenian qualities that Sophocles displays on stage.  Oedipus is characterized to be swift in taking action, prideful of intelligence, and dedicated to his city, all known qualities of the Athenians announced by Pericles and the Corinthians (30).  With the performances as a ritualistic offering to the gods, they also were “expressions of civic pride—indications of the cultural superiority of Athens over the other Greek states” (Brockett 62).  Athen’s pride is evident in Greek theatre and Sophocles presented it to his audience.  Knox, in his review of the play, comments, “Oedipus the King is a dramatic embodiment of the creative vigor and intellectual daring of the fifth-century Athenian spirit” (qtd in Knox 30). As the festivals of Dionysus increasingly became more popular with the community, Sophocles was acclaimed for his play “Oedipus the King” that is still acknowledged today.\n\nToday, “Oedipus the King” still brings in an audience for stage performances, but more importantly, analysis of the play itself and its correspondence to the human mind brings interest to psychologists and theorists around the world.  The riddle of the Sphynx introduced the idea of the “Life Cycle” we use today.  When Oedipus solves the riddle: “What has one voice, four-footed, two-footed, and three-footed?” –we learn that it is in fact “Man”.  This riddle alludes to the human as primarily and infant (four-footed), then an adult (two-footed), and ultimately a man of old age (three-footed).  “It describes inevitable physiological changes that are readily observable in humans as in all living things, but it also suggests that one ought to move through life in a certain prescribed manner” (qtd. in Weismantel 1283).\n\nIn the 20<sup>th</sup> century, Sigmund Freud demonstrates his own analysis of “Oedipus the King” in his <em>Interpretation of Dreams:</em> “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and… murderous wish against our father” (qtd. in Knox 28).  This theory is well known today as the <em>Oedipus Cycle</em>.  “As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son,” explains Datan.  The contemporary fears that we hold today contrast with how the ancient Greeks viewed drama.  We still hold the play as entertainment and tragedy like the ancient Greeks did, but we do not hold a ritualistic belief in presenting it towards the gods.  Yet, we have contemporarily deciphered the work of Sophocles as a base of psychoanalytic theory –“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).\n\nFollowing the death of Oedipus, Sophocles writes two more plays: “Oedipus at Colonus” and “Antigone”.  Antigone is Oedipus’ daughter who faces several conflicts in the play that makes her a tragic hero, similar to her father in “Oedipus the King”.  Antigone pleads to her uncle, Creon, and the laws of the state, for the proper burial of her brother, Polynices.  Because Antigone persists and follows through with her familial duties, we acknowledge her pride-- an Athenian quality mentioned earlier that was also used in “Oedipus the King”.  Sophocles still emphasizes the will of the gods as Antigone is conflicted with human and divine law.  “Her heroism derives from her unswerving dedication to the ideals of divine justice and to the duty of the individual to honor family, even if it challenges the laws of the state” (qtd. in Fiero).  And finally, just like “Oedipus the King,” Sophocles provides the audience with a visual of themselves on stage presented in tragic events.  Similar to the plague hitting Athens and destroying Thebes, Sophocles illustrated the tragedy of the expectations of women in society.  However, “Antigone threatened the status quo,” giving the story a twist (Fiero).\n\nDespite the many similarities between two of the Sophocles’ greatest plays, “Antigone” and “Oedipus the King”, we find many differences suggesting the unique creativity and intentions the playwright had for his audience.  Antigone deals with more conflicts that relate “human passions, the will of the gods, and the sovereignty of the polis” (Fiero).  Sophocles creates a different tragedy with a different theme, yet still relating to the community.  He reflects on the public good and private conscience that ultimately leads to making decisions.  Antigone, considered by society as weak because she is a woman, creates a deeper, unique character that questions the capability and strength of women.  Unlike Oedipus, she chooses her personal obligations rather than the public or the state.\n\nI believe that the “Oedipus the King” has successfully provided its audience throughout the ages the entertainment and a true tragic hero by being determined to search for the truth.  He becomes both detective and criminal and accepts the punishment he had made unknowingly for himself.  The structure of the tragic events has captivated audiences and playwrights throughout the day that will benefit not only to future generations, but to the developing people who search to define morality and truth.  The advancement of theatre today would not have developed without the ancient Greeks.  I believe that “Oedipus the King” is a great piece of art, theatre, and history that has made its name for a reason and should be saved for the future.\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\nBrocket, Oscar G. and Robert J. Ball.  “The Essential Theatre.”  10<sup>th</sup> ed.  Boston: Cengage Learning, 2011.  Print.\nI used this book for historical context and how the work was unusual for its time.\n\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  International Journal Of Aging &amp; Human Development 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\n\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" New Republic 187.9 (1982): 28. MasterFILE Premier. EBSCO. Web. 21 Feb. 2011.\nI used this article to help me explain how people think about Sophocles’s tragedy today.\n\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\nThis website helped me summarize and describe the story of Oedipus the King.\n\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\n\nWeismantel, Mary J. \"Life Cycle: Overview.\" New Dictionary of the History of Ideas. Ed.  Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. Gale Virtual Reference Library. Web. 21 Feb. 2011.\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-revision-7','','','2011-02-24 13:54:21','2011-02-24 19:54:21','',454,'http://jeanatacc.com/2011/?p=493',0,'revision','',0),(494,9,'2011-02-24 13:55:50','2011-02-24 19:55:50','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\nConsidered one of the great tragedians of ancient Greece, Sophocles (496-406 B.C.E.) produced his most famed and influential play, ‘Oedipus the King.’  Introduced to Greek drama around 430 B.C., ‘Oedipus the King’ became Sophocles’ greatest achievement, creating a new style of tragedy to theatrical performances, setting the stage for psychological theories, and providing an illustrious description of Athenian society for us today.   <!--more-->“Aristotle cites it as the most brilliant example of theatrical plot, the model for all to follow…” (qtd in Knox 28).  As the second of Sophocles’ three Theban plays, it set the groundwork for dramatic action between the individual and fate.  Throughout history, theatrical performances have developed in various forms; and without Sophocles’ influence in dramatic tragedy, these forms may not exist today.  ‘Oedipus the King’ brought about entertainment and a true tragic hero to the Greek audience with its skillful construction, thus it should be saved for future generations to understand how theatre developed into how it is presented today.\n\nOur tragedy begins when the citizens of Thebes come to their beloved ruler with cries of help to relieve them of a deadly plague. Oedipus is then informed by the Delphic oracle that the murderer of King Laius must first be punished for the city to be cured.  Oedipus, quickly blaming others, investigates and sets a curse on the murderer, unknowingly cursing himself (Brockett 71).  We soon discover that before Oedipus became king, he had solved the Sphynx’s riddle, thus rescuing the city of Thebes and rewarded the widowed queen, Jocasta.  He had come to meet the Sphynx on his journey away from home, to prevent the prophecy of killing his father and marrying his mother.  The plot thickens when we learn that Oedipus was not born of the parents he had believed to be from and that his actual parents, the king and the queen of Thebes, also tried to escape their fate by abandoning their son.  From “obsessive reconstruction of his own hidden past,” Oedipus learns that he did indeed kill his father on his journey to Thebes, unfortunately fulfilling the prophecy, and blinding himself for self-punishment (Sophocles).  The tragedy builds emotion and empathy of the character as it draws the audience, scene-by-scene, to the hidden past and the ultimate truth.\n\n“Oedipus the King” is uniquely structured around the characters where we find Oedipus as a tragic hero.  As the play progresses, the audience, as well as Oedipus, travel back in time and learn that it was he who killed his father, King Laius, and married his mother, becoming both brother and father to his children.  Sophocles organizes his play by developing the themes of: “uncertainty of human destiny” and “the limited ability of human beings to control their fate” (Brockett 74).  Oedipus becomes this tragic hero, because although he is seemingly tied down to his unfortunate destiny, his character is completely free through his actions of arriving upon his own doom.  At the beginning of the play, he calls for the punishment and dishonor of the murderer, and the play finishes off with him fulfilling the prophecy and the promise to the city by sticking needles in his eyes.  “In him, Sophocles achieved one of the enduring definitions of the tragic hero—that of a man for whom the liberation of the self is a necessity” (Tragedy).  Oedipus finds greater intent for the safety of his people, despite his unintentional sin.  The unique formality of the play introduces to the theatre world a creative style enveloping the character instead of the plot thus proving to have been beneficial to the production of theatre today and for the future.\n\nCountless stories have been passed down through generations and generations, generally by word of mouth.  Theatre as a means of presenting oneself to an audience, however, dates back, in the Western world, in ancient Greece.  During this period, Greek drama was developed to address the relationship between the individual, the community, and the gods (Fiero).  The performances of the plays that consisted of tragedies and comedies occurred during the festivals of Dionysus, god of fertility and wine.  Among the greatest playwrights of ancient Greece and history, Sophocles performed and competed at these festivals and made his name with the production of “Oedipus the King”.  Also, during this time, like most of history, men had a strong hold in the society where women and slaves had virtually no voice (Brockett 61).  Usually, young boys would play the woman’s role in the play.  In the festivals, there were generally only three actors who spoke, therefore the same actor may have played several roles for a play (67).  Social discrimination has been evident throughout history, limiting many forms of art and expression.  It is interesting to see how much has changed since then and how much hasn’t.  Finally, being affected by the war, a deadly plague continuously struck the city of Athens, causing the Athenians to look to the gods (Knox).  “Oedipus the King” illustrates the similarities of the Athenian people so the audience can empathize with the characters in the play.\n\n“Oedipus the King” was a play typical of its era by presenting dramatic action in the form of tragedy.  During this time, the Athenians worshipped many gods and even built theatres surrounding an altar.  Much of Greek tragedy “emphasized the attempts of human characters to control their own destinies” (Brockett).  Oedipus, along with Jocasta and the king, attempted to escape the will of the gods which ultimately lead to their doom.  Also, during this period, choruses were used during performances to comment and summarize the events of the play to the audience.  Sophocles uses this to structurally divide his scenes that were performed by three male actors.  By producing a strong-willed character, Sophocles creates a tragic hero with the downfall of Oedipus, one of the many tragic heroes created during the beginning of Greek drama.\n\nBecause of Sophocles’ unusual and innovative style that stood out from the other great tragedian playwrights of his time, “Oedipus the King” is still considered one of the greatest tragedies today.  Sophocles lengthens the resolution scene of the play focusing on how Oedipus deals with the knowledge of the truth (Brockett 73).  Instead of concentrating on the actions that Oedipus takes to find the truth, Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).  The audience thus becomes involved with the questions to follow up Oedipus’ discovery of the truth, drawing in more attention to psychological and moral attributes rather than physicality.\n\nDuring the period of ancient Greek theatre, plays were presented to the whole community, aside from women and slaves, for entertainment and ritualistic purposes.  Sophocles brought reality to the stage in his production of “Oedipus the King,” so that the Athenians were able to view themselves on a contemporary perspective (Knox 30).  Not only was the plague at the beginning of the play relevant to the time period in Athens, but also the characterization of Oedipus himself.  According to Knox, Oedipus portrays many similar Athenian qualities that Sophocles displays on stage.  Oedipus is characterized to be swift in taking action, prideful of intelligence, and dedicated to his city, all known qualities of the Athenians announced by Pericles and the Corinthians (30).  With the performances as a ritualistic offering to the gods, they also were “expressions of civic pride—indications of the cultural superiority of Athens over the other Greek states” (Brockett 62).  Athen’s pride is evident in Greek theatre and Sophocles presented it to his audience.  Knox, in his review of the play, comments, “Oedipus the King is a dramatic embodiment of the creative vigor and intellectual daring of the fifth-century Athenian spirit” (qtd in Knox 30). As the festivals of Dionysus increasingly became more popular with the community, Sophocles was acclaimed for his play “Oedipus the King” that is still acknowledged today.\n\nToday, “Oedipus the King” still brings in an audience for stage performances, but more importantly, analysis of the play itself and its correspondence to the human mind brings interest to psychologists and theorists around the world.  The riddle of the Sphynx introduced the idea of the “Life Cycle” we use today.  When Oedipus solves the riddle: “What has one voice, four-footed, two-footed, and three-footed?” –we learn that it is in fact “Man”.  This riddle alludes to the human as primarily and infant (four-footed), then an adult (two-footed), and ultimately a man of old age (three-footed).  “It describes inevitable physiological changes that are readily observable in humans as in all living things, but it also suggests that one ought to move through life in a certain prescribed manner” (qtd. in Weismantel 1283).\n\nIn the 20<sup>th</sup> century, Sigmund Freud demonstrates his own analysis of “Oedipus the King” in his <em>Interpretation of Dreams:</em> “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and… murderous wish against our father” (qtd. in Knox 28).  This theory is well known today as the <em>Oedipus Cycle</em>.  “As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son,” explains Datan.  The contemporary fears that we hold today contrast with how the ancient Greeks viewed drama.  We still hold the play as entertainment and tragedy like the ancient Greeks did, but we do not hold a ritualistic belief in presenting it towards the gods.  Yet, we have contemporarily deciphered the work of Sophocles as a base of psychoanalytic theory –“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).\n\nFollowing the death of Oedipus, Sophocles writes two more plays: “Oedipus at Colonus” and “Antigone”.  Antigone is Oedipus’ daughter who faces several conflicts in the play that makes her a tragic hero, similar to her father in “Oedipus the King”.  Antigone pleads to her uncle, Creon, and the laws of the state, for the proper burial of her brother, Polynices.  Because Antigone persists and follows through with her familial duties, we acknowledge her pride-- an Athenian quality mentioned earlier that was also used in “Oedipus the King”.  Sophocles still emphasizes the will of the gods as Antigone is conflicted with human and divine law.  “Her heroism derives from her unswerving dedication to the ideals of divine justice and to the duty of the individual to honor family, even if it challenges the laws of the state” (qtd. in Fiero).  And finally, just like “Oedipus the King,” Sophocles provides the audience with a visual of themselves on stage presented in tragic events.  Similar to the plague hitting Athens and destroying Thebes, Sophocles illustrated the tragedy of the expectations of women in society.  However, “Antigone threatened the status quo,” giving the story a twist (Fiero).\n\nDespite the many similarities between two of the Sophocles’ greatest plays, “Antigone” and “Oedipus the King”, we find many differences suggesting the unique creativity and intentions the playwright had for his audience.  Antigone deals with more conflicts that relate “human passions, the will of the gods, and the sovereignty of the polis” (Fiero).  Sophocles creates a different tragedy with a different theme, yet still relating to the community.  He reflects on the public good and private conscience that ultimately leads to making decisions.  Antigone, considered by society as weak because she is a woman, creates a deeper, unique character that questions the capability and strength of women.  Unlike Oedipus, she chooses her personal obligations rather than the public or the state.\n\nI believe that the “Oedipus the King” has successfully provided its audience throughout the ages the entertainment and a true tragic hero by being determined to search for the truth.  He becomes both detective and criminal and accepts the punishment he had made unknowingly for himself.  The structure of the tragic events has captivated audiences and playwrights throughout the day that will benefit not only to future generations, but to the developing people who search to define morality and truth.  The advancement of theatre today would not have developed without the ancient Greeks.  I believe that “Oedipus the King” is a great piece of art, theatre, and history that has made its name for a reason and should be saved for the future.\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\nBrocket, Oscar G. and Robert J. Ball.  “The Essential Theatre.”  10<sup>th</sup> ed.  Boston: Cengage Learning, 2011.  Print.\nI used this book for historical context and how the work was unusual for its time.\n\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  International Journal Of Aging &amp; Human Development 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\n\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" New Republic 187.9 (1982): 28. MasterFILE Premier. EBSCO. Web. 21 Feb. 2011.\nI used this article to help me explain how people think about Sophocles’s tragedy today.\n\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\nThis website helped me summarize and describe the story of Oedipus the King.\n\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\n\nWeismantel, Mary J. \"Life Cycle: Overview.\" New Dictionary of the History of Ideas. Ed.  Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. Gale Virtual Reference Library. Web. 21 Feb. 2011.\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-revision-8','','','2011-02-24 13:55:50','2011-02-24 19:55:50','',454,'http://jeanatacc.com/2011/?p=494',0,'revision','',0),(495,9,'2011-04-11 12:43:11','2011-04-11 18:43:11','<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"><img class=\"size-full wp-image-455 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus1.jpg\" alt=\"\" width=\"250\" height=\"172\" /></a></p>\n<p style=\"text-align: center\"><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\"></a><a href=\"http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg\">http://bananamagic.files.wordpress.com/2010/04/oedipus.jpg</a></p>\n<p style=\"text-align: center\"><strong>Oedipus the King</strong></p>\nConsidered one of the great tragedians of ancient Greece, Sophocles (496-406 B.C.E.) produced his most famed and influential play, ‘Oedipus the King.’  Introduced to Greek drama around 430 B.C., ‘Oedipus the King’ became Sophocles’ greatest achievement, creating a new style of tragedy to theatrical performances, setting the stage for psychological theories, and providing an illustrious description of Athenian society for us today.   <!--more-->“Aristotle cites it as the most brilliant example of theatrical plot, the model for all to follow…” (qtd in Knox 28).  As the second of Sophocles’ three Theban plays, it set the groundwork for dramatic action between the individual and fate.  Throughout history, theatrical performances have developed in various forms; and without Sophocles’ influence in dramatic tragedy, these forms may not exist today.  ‘Oedipus the King’ brought about entertainment and a true tragic hero to the Greek audience with its skillful construction, thus it should be saved for future generations to understand how theatre developed into how it is presented today.\n\nOur tragedy begins when the citizens of Thebes come to their beloved ruler with cries of help to relieve them of a deadly plague. Oedipus is then informed by the Delphic oracle that the murderer of King Laius must first be punished for the city to be cured.  Oedipus, quickly blaming others, investigates and sets a curse on the murderer, unknowingly cursing himself (Brockett 71).  We soon discover that before Oedipus became king, he had solved the Sphynx’s riddle, thus rescuing the city of Thebes and rewarded the widowed queen, Jocasta.  He had come to meet the Sphynx on his journey away from home, to prevent the prophecy of killing his father and marrying his mother.  The plot thickens when we learn that Oedipus was not born of the parents he had believed to be from and that his actual parents, the king and the queen of Thebes, also tried to escape their fate by abandoning their son.  From “obsessive reconstruction of his own hidden past,” Oedipus learns that he did indeed kill his father on his journey to Thebes, unfortunately fulfilling the prophecy, and blinding himself for self-punishment (Sophocles).  The tragedy builds emotion and empathy of the character as it draws the audience, scene-by-scene, to the hidden past and the ultimate truth.\n\n“Oedipus the King” is uniquely structured around the characters where we find Oedipus as a tragic hero.  As the play progresses, the audience, as well as Oedipus, travel back in time and learn that it was he who killed his father, King Laius, and married his mother, becoming both brother and father to his children.  Sophocles organizes his play by developing the themes of: “uncertainty of human destiny” and “the limited ability of human beings to control their fate” (Brockett 74).  Oedipus becomes this tragic hero, because although he is seemingly tied down to his unfortunate destiny, his character is completely free through his actions of arriving upon his own doom.  At the beginning of the play, he calls for the punishment and dishonor of the murderer, and the play finishes off with him fulfilling the prophecy and the promise to the city by sticking needles in his eyes.  “In him, Sophocles achieved one of the enduring definitions of the tragic hero—that of a man for whom the liberation of the self is a necessity” (Tragedy).  Oedipus finds greater intent for the safety of his people, despite his unintentional sin.  The unique formality of the play introduces to the theatre world a creative style enveloping the character instead of the plot thus proving to have been beneficial to the production of theatre today and for the future.\n\nCountless stories have been passed down through generations and generations, generally by word of mouth.  Theatre as a means of presenting oneself to an audience, however, dates back, in the Western world, in ancient Greece.  During this period, Greek drama was developed to address the relationship between the individual, the community, and the gods (Fiero).  The performances of the plays that consisted of tragedies and comedies occurred during the festivals of Dionysus, god of fertility and wine.  Among the greatest playwrights of ancient Greece and history, Sophocles performed and competed at these festivals and made his name with the production of “Oedipus the King”.  Also, during this time, like most of history, men had a strong hold in the society where women and slaves had virtually no voice (Brockett 61).  Usually, young boys would play the woman’s role in the play.  In the festivals, there were generally only three actors who spoke, therefore the same actor may have played several roles for a play (67).  Social discrimination has been evident throughout history, limiting many forms of art and expression.  It is interesting to see how much has changed since then and how much hasn’t.  Finally, being affected by the war, a deadly plague continuously struck the city of Athens, causing the Athenians to look to the gods (Knox).  “Oedipus the King” illustrates the similarities of the Athenian people so the audience can empathize with the characters in the play.\n\n“Oedipus the King” was a play typical of its era by presenting dramatic action in the form of tragedy.  During this time, the Athenians worshipped many gods and even built theatres surrounding an altar.  Much of Greek tragedy “emphasized the attempts of human characters to control their own destinies” (Brockett).  Oedipus, along with Jocasta and the king, attempted to escape the will of the gods which ultimately lead to their doom.  Also, during this period, choruses were used during performances to comment and summarize the events of the play to the audience.  Sophocles uses this to structurally divide his scenes that were performed by three male actors.  By producing a strong-willed character, Sophocles creates a tragic hero with the downfall of Oedipus, one of the many tragic heroes created during the beginning of Greek drama.\n\nBecause of Sophocles’ unusual and innovative style that stood out from the other great tragedian playwrights of his time, “Oedipus the King” is still considered one of the greatest tragedies today.  Sophocles lengthens the resolution scene of the play focusing on how Oedipus deals with the knowledge of the truth (Brockett 73).  Instead of concentrating on the actions that Oedipus takes to find the truth, Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).  The audience thus becomes involved with the questions to follow up Oedipus’ discovery of the truth, drawing in more attention to psychological and moral attributes rather than physicality.\n\nDuring the period of ancient Greek theatre, plays were presented to the whole community, aside from women and slaves, for entertainment and ritualistic purposes.  Sophocles brought reality to the stage in his production of “Oedipus the King,” so that the Athenians were able to view themselves on a contemporary perspective (Knox 30).  Not only was the plague at the beginning of the play relevant to the time period in Athens, but also the characterization of Oedipus himself.  According to Knox, Oedipus portrays many similar Athenian qualities that Sophocles displays on stage.  Oedipus is characterized to be swift in taking action, prideful of intelligence, and dedicated to his city, all known qualities of the Athenians announced by Pericles and the Corinthians (30).  With the performances as a ritualistic offering to the gods, they also were “expressions of civic pride—indications of the cultural superiority of Athens over the other Greek states” (Brockett 62).  Athen’s pride is evident in Greek theatre and Sophocles presented it to his audience.  Knox, in his review of the play, comments, “Oedipus the King is a dramatic embodiment of the creative vigor and intellectual daring of the fifth-century Athenian spirit” (qtd in Knox 30). As the festivals of Dionysus increasingly became more popular with the community, Sophocles was acclaimed for his play “Oedipus the King” that is still acknowledged today.\n\nToday, “Oedipus the King” still brings in an audience for stage performances, but more importantly, analysis of the play itself and its correspondence to the human mind brings interest to psychologists and theorists around the world.  The riddle of the Sphynx introduced the idea of the “Life Cycle” we use today.  When Oedipus solves the riddle: “What has one voice, four-footed, two-footed, and three-footed?” –we learn that it is in fact “Man”.  This riddle alludes to the human as primarily and infant (four-footed), then an adult (two-footed), and ultimately a man of old age (three-footed).  “It describes inevitable physiological changes that are readily observable in humans as in all living things, but it also suggests that one ought to move through life in a certain prescribed manner” (qtd. in Weismantel 1283).\n\nIn the 20<sup>th</sup> century, Sigmund Freud demonstrates his own analysis of “Oedipus the King” in his <em>Interpretation of Dreams:</em> “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and… murderous wish against our father” (qtd. in Knox 28).  This theory is well known today as the <em>Oedipus Cycle</em>.  “As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son,” explains Datan.  The contemporary fears that we hold today contrast with how the ancient Greeks viewed drama.  We still hold the play as entertainment and tragedy like the ancient Greeks did, but we do not hold a ritualistic belief in presenting it towards the gods.  Yet, we have contemporarily deciphered the work of Sophocles as a base of psychoanalytic theory –“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).\n\nFollowing the death of Oedipus, Sophocles writes two more plays: “Oedipus at Colonus” and “Antigone”.  Antigone is Oedipus’ daughter who faces several conflicts in the play that makes her a tragic hero, similar to her father in “Oedipus the King”.  Antigone pleads to her uncle, Creon, and the laws of the state, for the proper burial of her brother, Polynices.  Because Antigone persists and follows through with her familial duties, we acknowledge her pride-- an Athenian quality mentioned earlier that was also used in “Oedipus the King”.  Sophocles still emphasizes the will of the gods as Antigone is conflicted with human and divine law.  “Her heroism derives from her unswerving dedication to the ideals of divine justice and to the duty of the individual to honor family, even if it challenges the laws of the state” (qtd. in Fiero).  And finally, just like “Oedipus the King,” Sophocles provides the audience with a visual of themselves on stage presented in tragic events.  Similar to the plague hitting Athens and destroying Thebes, Sophocles illustrated the tragedy of the expectations of women in society.  However, “Antigone threatened the status quo,” giving the story a twist (Fiero).\n\nDespite the many similarities between two of the Sophocles’ greatest plays, “Antigone” and “Oedipus the King”, we find many differences suggesting the unique creativity and intentions the playwright had for his audience.  Antigone deals with more conflicts that relate “human passions, the will of the gods, and the sovereignty of the polis” (Fiero).  Sophocles creates a different tragedy with a different theme, yet still relating to the community.  He reflects on the public good and private conscience that ultimately leads to making decisions.  Antigone, considered by society as weak because she is a woman, creates a deeper, unique character that questions the capability and strength of women.  Unlike Oedipus, she chooses her personal obligations rather than the public or the state.\n\nI believe that the “Oedipus the King” has successfully provided its audience throughout the ages the entertainment and a true tragic hero by being determined to search for the truth.  He becomes both detective and criminal and accepts the punishment he had made unknowingly for himself.  The structure of the tragic events has captivated audiences and playwrights throughout the day that will benefit not only to future generations, but to the developing people who search to define morality and truth.  The advancement of theatre today would not have developed without the ancient Greeks.  I believe that “Oedipus the King” is a great piece of art, theatre, and history that has made its name for a reason and should be saved for the future.\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\nBrocket, Oscar G. and Robert J. Ball.  “The Essential Theatre.”  10<sup>th</sup> ed.  Boston: Cengage Learning, 2011.  Print.\nI used this book for historical context and how the work was unusual for its time.\n\nDatan, N.  “The Oedipus Cycle: developmental mythology, Greek tragedy, and the sociology of knowledge.”  International Journal Of Aging &amp; Human Development 27.1  (1988):  1-10.  MEDLINE.  EBSCO.  Web.  14 Feb 2011.  <a href=\"http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live\">http://search.ebscohost.com/login.aspx?direct=true&amp;db=cmedm&amp;AN=3254354&amp;site=ehost-live</a>.\nI used this article to introduce the Oedipus Cycle that is considered in Psychological aspects today.\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\nI used this book to describe the historical context of ancient Greece and my comparison of Antigone and Oedipus the King.\n\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" New Republic 187.9 (1982): 28. MasterFILE Premier. EBSCO. Web. 21 Feb. 2011.\nI used this article to help me explain how people think about Sophocles’s tragedy today.\n\n\"Sophocles.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/554733/Sophocles</a>.\nThis website helped me summarize and describe the story of Oedipus the King.\n\n\"Tragedy.\" <em> Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 17 Feb. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/601884/tragedy</a>.\nThis website was used to describe Sophocles, the author of the work, and to discuss how Oedipus the King was typical, yet atypical of its time.\n\nWeismantel, Mary J. \"Life Cycle: Overview.\" New Dictionary of the History of Ideas. Ed.  Maryanne Cline Horowitz. Vol. 3. Detroit: Charles Scribner\'s Sons, 2005. 1283-1284. Gale Virtual Reference Library. Web. 21 Feb. 2011.\nI used this article to help me explain how people today use the story in psychological terms relating it to the mind.','Oedipus the King','','inherit','open','open','','454-autosave','','','2011-04-11 12:43:11','2011-04-11 18:43:11','',454,'http://jeanatacc.com/2011/?p=495',0,'revision','',0),(776,36,'2011-03-22 23:10:24','2011-03-23 05:10:24','St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\n<!--more--> The reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church).\r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.\r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\nI personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.\r\nSt. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\nWork Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','publish','open','open','','st-peters-basilica','','','2011-03-26 17:20:03','2011-03-26 23:20:03','',0,'http://jeanatacc.com/2011/?p=776',0,'post','',8),(497,1,'2011-02-23 23:09:07','2011-02-24 05:09:07','<em>             The Art of Love</em> is a didactic poem created by Ovid (a roman elegiac and epic poet).  It was created about 2-1 BC.  The Art of Love is a poem of love that is divided into three sections: “first telling men how to choose and capture their chosen women, second telling men how to keep this woman, and third directed at women, instructing them how to behave in reaction to the behavior suggested to men in the first two books.” (Reference guide to world literature) The poem consists of metaphors for men to master women.  The whole idea of this poem is love, but for men meaning sexual. For Ovid having a lot of experience he quoted “what I write, believe me, I have practiced.”  The arts of love was a great success that of Ovid and especially during the Middle Ages and high ages.\r\n\r\n            The reason that “The art of love” was created was because Ovid felt what they called Tristia. His poem brought people to think of many views. Some people agree with what he said, but then others felt offended. During its time it won the poet eternal fame.\r\n\r\n            Many people today still read the poem of The Art of Love. It’s a great story for both women and men to read.  And in my point of view I agree in today’s society if girl were to read this magnificent work they would agree when Ovid talks about how “if a woman follows a beauty regimen specific to herself and exudes “elegance”, then she will be seen as desirable to many men.” (Poetry connection)  Many men know a day’s judge a women by the way girl is dress and that exactly what Ovid talks about. `By the way that Ovid expresses him in B.C about how women and men are seen, many things have not been changed.\r\n\r\n            What I found meaningful about The Art of Love is about how Ovid gives both men and women advice on love. It’s surprising when someone from experience talks about what they went through and still give great advice.  But the bad thing about this poem is that it could be taken as two ways: sex or love.\r\n\r\n                                                                                Work Cited\r\n\r\nGraham, Colin. \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3408400709&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">The Art of Love (Ars Amatoria) Poem by Ovid, C. 1 BC</a>.\" <span style=\"text-decoration: underline\">Reference Guide to World Literature</span>. Ed. Sara Pendergast and Tom Pendergast. Vol. 2: Works. 3<sup>rd</sup> ed. Detroit: St. James Press, 2003. 1142-1143.\r\n\r\nN.p.: n.p., n.d. <em>Poetry Connection</em>. Web. 23 Feb. 2011.\r\n\r\n \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3404704911&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">Ovid</a>.\" <span style=\"text-decoration: underline\">Encyclopedia of World Biography</span>. Vol. 12. 2<sup>nd</sup> ed. Detroit: Gale, 2004. 34-36. <span style=\"text-decoration: underline\">Gale Virtual Reference Library</span>. Gale. Austin Community College Libraries. 31 Jan. 2011','The Art of Love','','inherit','open','open','','489-revision-4','','','2011-02-23 23:09:07','2011-02-24 05:09:07','',489,'http://jeanatacc.com/2011/?p=497',0,'revision','',0),(499,11,'2011-02-25 15:58:04','2011-02-25 21:58:04','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy. One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., 2000. Web. 20 Feb 2011.</span></p>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span></p>\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill,</span></p>\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 72pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span></p>\n\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision','','','2011-02-25 15:58:04','2011-02-25 21:58:04','',498,'http://jeanatacc.com/2011/?p=499',0,'revision','',0),(501,11,'2011-02-25 16:02:13','2011-02-25 22:02:13','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\r\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\r\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision-3','','','2011-02-25 16:02:13','2011-02-25 22:02:13','',498,'http://jeanatacc.com/2011/?p=501',0,'revision','',0),(500,11,'2011-02-25 15:59:06','2011-02-25 21:59:06','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., 2000. Web. 20 Feb 2011.</span></p>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span></p>\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill,</span></p>\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 72pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011.</span>\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision-2','','','2011-02-25 15:59:06','2011-02-25 21:59:06','',498,'http://jeanatacc.com/2011/?p=500',0,'revision','',0),(502,11,'2011-02-25 16:03:16','2011-02-25 22:03:16','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\r\n<p style=\"margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\r\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision-4','','','2011-02-25 16:03:16','2011-02-25 22:03:16','',498,'http://jeanatacc.com/2011/?p=502',0,'revision','',0),(508,19,'2011-02-25 19:21:47','2011-02-26 01:21:47','Marcus Aurelius: <em>The Meditations</em>\r\n\r\nRoman emperor Marcus Aurelius’ wrote <em>The Meditations, </em>in approximately 167 AD.  The writings are a set of his thoughts relating to stoic philosophy.  Aurelius’ speaks highly of his life influences, mainly his grandfather.  How he was taught to “work with his hands,” and “want little.”  The main themes Aurelius was trying to advocate were of morality and tranquility.  “The emphasis on morality combined with emotional detachment is strongly reminiscent of Buddhist thought, with which stoicism has often been compared” (Brians 1).<!--more-->\r\n\r\nDuring his early years and also his reign as emperor, stoicism had a heavy influence on Greco-Roman civilizations (Brians 1).  Aurelius’ love of stoic philosophy makes <em>The Meditations </em>very typical for its time.  Another heavy influence on the time and on his writing was Epicureanism. “The stoics aspired to the repression of all emotion, and the epicureans to the freedom from all disturbance.  Though similar to stoicism, Epicureanism would be a rival teaching.  However, both were very similar ideologies.  Philisophical writing at the time trended towards these two ways of thinking a lot.  The ideas of tranquility, morality and emotional detachment are all very typical in this era.  These ideologies were highly influential to all philosophy written in Rome for a very long time.  Therefore the preservation of this work is crucial.  Aurelius’ said,  “From my Governor, to be neither of the green nor the blue party at the game in the circus, nor a partisan either of the Parmedarius or the Scrutarius at the gladiators fights; from him to I learned endurance of labor, and to want little, and to work with my own hands, and not to meddel in other peoples affairs and not be ready to listen to slander.” (Great Books of World, pg 239).\r\n\r\nAurelius’ Meditations was somewhat innovative but not unusual for its time.  Considering how influential these stoic ideas were at the time, it was very relevant work.  Aurelius’, unlike other philosophers of the time, credited all of his great philosophical influences, making it somewhat innovative.  Although no other stoic work during its time achieved more admiration.  Aurelius said, “If anyone can convince me that an idea or action of mine is wrong, I will gladly amend it- I seek the truth, which never harmed anyone,” (Lives of the Caesars 201)\r\n\r\nThe emperor’s thoughts and ideas from <em>The Meditations</em> could only have been received very well during its time.  As I mentioned previously, stoicism was highly regarded during this era in Greco-Roman Civilization.  It was also Aurelius’ way of thought and life, therefore, this work could only have been revered and praised.\r\n\r\nConsidering the popularity of stoicism then and how apparent these values are stressed in <em>The Mediations,</em> the reception was probably much better during the reign of Aurelius’.  It was the thoughts and values of one of the most powerful men in the world.  Today, as renouned as the writings are, the reception of philosophy is simply not what it was or at least in the same form.  Though he considers the book on the greatest ever written, Paul Brians states, that it is a book of “loosely organized thoughts” and values in life.\r\n\r\nPersonally I really enjoyed <em>The Meditations </em>simply because of the man who wrote it.  He tries vigorously to live an almost impossible lifestyle working hard, wanting little and finding tranquility.  I enjoyed particularly where he states to “not dwell in others affairs.”\r\n\r\nA book compared to <em>The mediations</em> was the <em>Imitation of Christ</em>.  The both advocate being strong within one’s mind, or as it says in the <em>Imitation of Christ, </em>“to overcome himself, and every day to be stronger than himself.”  Both books realized man is one of a great community.  “No man is sufficient to himself, we must bear together, help together, comfort together,” (ancienthistory.com, 3).   In contrast, there is one great difference between both books.  That is that the <em>Imitation of Christ </em>is addressed to others, <em>The Meditations </em>by the writer to himself.  “There is nothing to learn from the author of the <em>Imitation of Christ, </em>where in Aurelius’ Meditations, there is a reflection, mood by mood, from the author (ancienthistory.com, 3).\r\n\r\n<em>The Meditations </em>are something all future generations should read and analyze.  For research or personal purposes, the words of Aurelius’ in these writings, I believe, are very profound.  The way he attempted to live his life was very honorable and praiseworthy.  If everyone thought like him there might be better morale and a little more production.  The Meditations are and will be significant to current and future generations.\r\n\r\nWorks Cited TCP1: <em>The Meditations</em>\r\n\r\nBarrett, Anthony A., ed.  <span style=\"text-decoration: underline;\">Lives of the Caesars</span>.  Malden, MA: Blackwell Publishing Ltd., 2008.\r\n\r\nAdler, Mortimer J., ed.  <span style=\"text-decoration: underline;\">Great Books of the World.</span> Indiana University Press: 1968\r\n\r\nHughes, Glyn. “Squashed Philosophers’ Abridged Edition.”  <a href=\"http://www.btinternet.com/%7Eglynhughes/squashed/macusa.htm.%20ed.%20Glyn%20Hughes.%202009\">www.btinternet.com/~glynhughes/squashed/macusa.htm. ed. Glyn Hughes. 2009</a>.  Glyn Hughes Squashed Philosophies. 2/10/2011\r\n\r\nLong, George. “Marcus Aurelius: The Mediations (167 CE).” <a href=\"http://www.wsu.edu:8080/%7Ewldciv/world_1/aurelius.htm1\">www.wsu.edu:8080/~wldciv/world_1/aurelius.htm1</a>.  ed. Paul Brians. Department of English Washington State University.  2/10/2011.\r\n\r\n“Marcus Aurelius Meditations: Public domain translation and introduction to the meditations of       the emperor Marcus Aurelius.”http://ancienthistory.about.com/library/bl/bl_aurelius_intro 2/19/2011\r\n\r\n﻿','GaryDyer-TCP1','','publish','open','open','','garydyer-tcp1','','','2011-02-26 15:31:15','2011-02-26 21:31:15','',0,'http://jeanatacc.com/2011/?p=508',0,'post','',7),(509,19,'2011-02-25 19:20:11','2011-02-26 01:20:11','','Gary Dyer humanities','','inherit','open','open','','gary-dyer-humanities','','','2011-02-25 19:20:11','2011-02-26 01:20:11','',508,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Gary-Dyer-humanities.docx',0,'attachment','application/msword',0),(504,11,'2011-02-25 16:12:00','2011-02-25 22:12:00','The School of Athens (detail). Fresco, Stanza della Segnatura, Palazzi Pontifici, Vatican.','Plato','','inherit','open','open','','plato-2','','','2011-02-25 16:12:00','2011-02-25 22:12:00','',498,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Plato1.jpg',0,'attachment','image/jpeg',0),(505,11,'2011-02-25 16:20:34','2011-02-25 22:20:34','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<img class=\"aligncenter size-medium wp-image-504\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Plato1-245x300.jpg\" alt=\"Raffaello Sanzio\'s Plato\" width=\"245\" height=\"300\" /><!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\n<p style=\"text-align: left;margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\n\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-autosave','','','2011-02-25 16:20:34','2011-02-25 22:20:34','',498,'http://jeanatacc.com/2011/?p=505',0,'revision','',0),(506,11,'2011-02-25 16:03:58','2011-02-25 22:03:58','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\r\n<p style=\"text-align: left;margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\r\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision-5','','','2011-02-25 16:03:58','2011-02-25 22:03:58','',498,'http://jeanatacc.com/2011/?p=506',0,'revision','',0),(512,1,'2011-02-16 17:53:24','2011-02-16 23:53:24','        The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\r\n\r\n          It is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\r\n\r\n        The oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\r\n\r\n           The acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\r\n\r\n             The athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\r\n\r\n             It is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas)\r\n','The Acropolis in Athens','','inherit','open','open','','174-revision-6','','','2011-02-16 17:53:24','2011-02-16 23:53:24','',174,'http://jeanatacc.com/2011/?p=512',0,'revision','',0),(511,1,'2011-02-25 19:21:47','2011-02-26 01:21:47','Gary Dyer\r\n\r\nProfessor Lauer\r\n\r\nHUMA 1301\r\n\r\n17 February 2011\r\n\r\nTCP1 Marcus Aurelius: <em>The Meditations</em>\r\n\r\nRoman emperor Marcus Aurelius’ wrote <em>The Meditations, </em>in approximately 167 AD.  The writings are a set of his thoughts relating to stoic philosophy.  Aurelius’ speaks highly of his life influences, mainly his grandfather.  How he was taught to “work with his hands,” and “want little.”  The main themes Aurelius was trying to advocate were of morality and tranquility.  “The emphasis on morality combined with emotional detachment is strongly reminiscent of Buddhist thought, with which stoicism has often been compared” (Brians 1).\r\n\r\nDuring his early years and also his reign as emperor, stoicism had a heavy influence on Greco-Roman civilizations (Brians 1).  Aurelius’ love of stoic philosophy makes <em>The Meditations </em>very typical for its time.  Another heavy influence on the time and on his writing was Epicureanism. “The stoics aspired to the repression of all emotion, and the epicureans to the freedom from all disturbance.  Though similar to stoicism, Epicureanism would be a rival teaching.  However, both were very similar ideologies.  Philisophical writing at the time trended towards these two ways of thinking a lot.  The ideas of tranquility, morality and emotional detachment are all very typical in this era.  These ideologies were highly influential to all philosophy written in Rome for a very long time.  Therefore the preservation of this work is crucial.  Aurelius’ said,  “From my Governor, to be neither of the green nor the blue party at the game in the circus, nor a partisan either of the Parmedarius or the Scrutarius at the gladiators fights; from him to I learned endurance of labor, and to want little, and to work with my own hands, and not to meddel in other peoples affairs and not be ready to listen to slander.” (Great Books of World, pg 239).\r\n\r\nAurelius’ Meditations was somewhat innovative but not unusual for its time.  Considering how influential these stoic ideas were at the time, it was very relevant work.  Aurelius’, unlike other philosophers of the time, credited all of his great philosophical influences, making it somewhat innovative.  Although no other stoic work during its time achieved more admiration.  Aurelius said, “If anyone can convince me that an idea or action of mine is wrong, I will gladly amend it- I seek the truth, which never harmed anyone,” (Lives of the Caesars 201)\r\n\r\nThe emperor’s thoughts and ideas from <em>The Meditations</em> could only have been received very well during its time.  As I mentioned previously, stoicism was highly regarded during this era in Greco-Roman Civilization.  It was also Aurelius’ way of thought and life, therefore, this work could only have been revered and praised.\r\n\r\nConsidering the popularity of stoicism then and how apparent these values are stressed in <em>The Mediations,</em> the reception was probably much better during the reign of Aurelius’.  It was the thoughts and values of one of the most powerful men in the world.  Today, as renouned as the writings are, the reception of philosophy is simply not what it was or at least in the same form.  Though he considers the book on the greatest ever written, Paul Brians states, that it is a book of “loosely organized thoughts” and values in life.\r\n\r\nPersonally I really enjoyed <em>The Meditations </em>simply because of the man who wrote it.  He tries vigorously to live an almost impossible lifestyle working hard, wanting little and finding tranquility.  I enjoyed particularly where he states to “not dwell in others affairs.”\r\n\r\nA book compared to <em>The mediations</em> was the <em>Imitation of Christ</em>.  The both advocate being strong within one’s mind, or as it says in the <em>Imitation of Christ, </em>“to overcome himself, and every day to be stronger than himself.”  Both books realized man is one of a great community.  “No man is sufficient to himself, we must bear together, help together, comfort together,” (ancienthistory.com, 3).   In contrast, there is one great difference between both books.  That is that the <em>Imitation of Christ </em>is addressed to others, <em>The Meditations </em>by the writer to himself.  “There is nothing to learn from the author of the <em>Imitation of Christ, </em>where in Aurelius’ Meditations, there is a reflection, mood by mood, from the author (ancienthistory.com, 3).\r\n\r\n<em>The Meditations </em>are something all future generations should read and analyze.  For research or personal purposes, the words of Aurelius’ in these writings, I believe, are very profound.  The way he attempted to live his life was very honorable and praiseworthy.  If everyone thought like him there might be better morale and a little more production.  The Meditations are and will be significant to current and future generations.\r\n\r\nWorks Cited TCP1: <em>The Meditations</em>\r\n\r\nBarrett, Anthony A., ed.  <span style=\"text-decoration: underline\">Lives of the Caesars</span>.  Malden, MA: Blackwell Publishing Ltd., 2008.\r\n\r\nAdler, Mortimer J., ed.  <span style=\"text-decoration: underline\">Great Books of the World.</span> Indiana University Press: 1968\r\n\r\nHughes, Glyn. “Squashed Philosophers’ Abridged Edition.”  <a href=\"http://www.btinternet.com/%7Eglynhughes/squashed/macusa.htm.%20ed.%20Glyn%20Hughes.%202009\">www.btinternet.com/~glynhughes/squashed/macusa.htm. ed. Glyn Hughes. 2009</a>.  Glyn Hughes Squashed Philosophies. 2/10/2011\r\n\r\nLong, George. “Marcus Aurelius: The Mediations (167 CE).” <a href=\"http://www.wsu.edu:8080/%7Ewldciv/world_1/aurelius.htm1\">www.wsu.edu:8080/~wldciv/world_1/aurelius.htm1</a>.  ed. Paul Brians. Department of English Washington State University.  2/10/2011.\r\n\r\n“Marcus Aurelius Meditations: Public domain translation and introduction to the meditations of       the emperor Marcus Aurelius.”http://ancienthistory.about.com/library/bl/bl_aurelius_intro 2/19/2011\r\n\r\n﻿','GaryDyer-TCP1','','inherit','open','open','','508-revision-2','','','2011-02-25 19:21:47','2011-02-26 01:21:47','',508,'http://jeanatacc.com/2011/?p=511',0,'revision','',0),(510,19,'2011-02-25 19:21:28','2011-02-26 01:21:28','<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;--> \n /* Style Definitions */\n table.MsoNormalTable\n	{mso-style-name:\"Table Normal\";\n	mso-tstyle-rowband-size:0;\n	mso-tstyle-colband-size:0;\n	mso-style-noshow:yes;\n	mso-style-priority:99;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\n	mso-para-margin-top:0in;\n	mso-para-margin-right:0in;\n	mso-para-margin-bottom:10.0pt;\n	mso-para-margin-left:0in;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:11.0pt;\n	font-family:\"Calibri\",\"sans-serif\";\n	mso-ascii-font-family:Calibri;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Calibri;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n \n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Gary Dyer</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Professor Lauer</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">HUMA 1301</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">17 February 2011</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">TCP1 Marcus Aurelius: <em>The Meditations</em></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>Roman emperor Marcus Aurelius’ wrote <em>The Meditations, </em>in approximately 167 AD.<span> </span>The writings are a set of his thoughts relating to stoic philosophy.<span> </span>Aurelius’ speaks highly of his life influences, mainly his grandfather.<span> </span>How he was taught to “work with his hands,” and “want little.”<span> </span>The main themes Aurelius was trying to advocate were of morality and tranquility.<span> </span>“The emphasis on morality combined with emotional detachment is strongly reminiscent of Buddhist thought, with which stoicism has often been compared” (Brians 1).</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>During his early years and also his reign as emperor, stoicism had a heavy influence on Greco-Roman civilizations (Brians 1).<span> </span>Aurelius’ love of stoic philosophy makes <em>The Meditations </em>very typical for its time.<span> </span>Another heavy influence on the time and on his writing was Epicureanism. “The stoics aspired to the repression of all emotion, and the epicureans to the freedom from all disturbance.<span> </span>Though similar to stoicism, Epicureanism would be a rival teaching.<span> </span>However, both were very similar ideologies.<span> </span>Philisophical writing at the time trended towards these two ways of thinking a lot.<span> </span>The ideas of tranquility, morality and emotional detachment are all very typical in this era.<span> </span>These ideologies were highly influential to all philosophy written in Rome for a very long time.<span> </span>Therefore the preservation of this work is crucial.<span> </span>Aurelius’ said,<span> </span>“From my Governor, to be neither of the green nor the blue party at the game in the circus, nor a partisan either of the Parmedarius or the Scrutarius at the gladiators fights; from him to I learned endurance of labor, and to want little, and to work with my own hands, and not to meddel in other peoples affairs and not be ready to listen to slander.” (Great Books of World, pg 239).<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>Aurelius’ Meditations was somewhat innovative but not unusual for its time.<span> </span>Considering how influential these stoic ideas were at the time, it was very relevant work.<span> </span>Aurelius’, unlike other philosophers of the time, credited all of his great philosophical influences, making it somewhat innovative.<span> </span>Although no other stoic work during its time achieved more admiration.<span> </span>Aurelius said, “If anyone can convince me that an idea or action of mine is wrong, I will gladly amend it- I seek the truth, which never harmed anyone,” (Lives of the Caesars 201) </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>The emperor’s thoughts and ideas from <em>The Meditations</em> could only have been received very well during its time.<span> </span>As I mentioned previously, stoicism was highly regarded during this era in Greco-Roman Civilization.<span> </span>It was also Aurelius’ way of thought and life, therefore, this work could only have been revered and praised.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>Considering the popularity of stoicism then and how apparent these values are stressed in <em>The Mediations,</em> the reception was probably much better during the reign of Aurelius’.<span> </span>It was the thoughts and values of one of the most powerful men in the world.<span> </span>Today, as renouned as the writings are, the reception of philosophy is simply not what it was or at least in the same form.<span> </span>Though he considers the book on the greatest ever written, Paul Brians states, that it is a book of “loosely organized thoughts” and values in life.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>Personally I really enjoyed <em>The Meditations </em>simply because of the man who wrote it.<span> </span>He tries vigorously to live an almost impossible lifestyle working hard, wanting little and finding tranquility.<span> </span>I enjoyed particularly where he states to “not dwell in others affairs.” </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span>A book compared to <em>The mediations</em> was the <em>Imitation of Christ</em>.<span> </span>The both advocate being strong within one’s mind, or as it says in the <em>Imitation of Christ, </em>“to overcome himself, and every day to be stronger than himself.”<span> </span>Both books realized man is one of a great community.<span> </span>“No man is sufficient to himself, we must bear together, help together, comfort together,” (ancienthistory.com, 3).<span> </span>In contrast, there is one great difference between both books.<span> </span>That is that the <em>Imitation of Christ </em>is addressed to others, <em>The Meditations </em>by the writer to himself.<span> </span>“There is nothing to learn from the author of the <em>Imitation of Christ, </em>where in Aurelius’ Meditations, there is a reflection, mood by mood, from the author (ancienthistory.com, 3).<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span><em>The Meditations </em>are something all future generations should read and analyze.<span> </span>For research or personal purposes, the words of Aurelius’ in these writings, I believe, are very profound.<span> </span>The way he attempted to live his life was very honorable and praiseworthy.<span> </span>If everyone thought like him there might be better morale and a little more production.<span> </span>The Meditations are and will be significant to current and future generations.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Works Cited TCP1: <em>The Meditations</em></span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\">Barrett, Anthony A., ed.<span> </span><span style=\"text-decoration: underline\">Lives of the Caesars</span>.<span> </span>Malden, MA: Blackwell Publishing Ltd., 2008.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\">Adler, Mortimer J., ed.<span> </span><span style=\"text-decoration: underline\">Great Books of the World.</span> Indiana University Press: 1968</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\">Hughes, Glyn. “Squashed Philosophers’ Abridged Edition.”<span> </span></span><a href=\"http://www.btinternet.com/~glynhughes/squashed/macusa.htm.%20ed.%20Glyn%20Hughes.%202009\"><span style=\"font-size: 12pt\">www.btinternet.com/~glynhughes/squashed/macusa.htm. ed. Glyn Hughes. 2009</span></a><span style=\"font-size: 12pt\">.<span> </span>Glyn Hughes Squashed Philosophies. 2/10/2011</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\">Long, George. “Marcus Aurelius: The Mediations (167 CE).” </span><a href=\"http://www.wsu.edu:8080/~wldciv/world_1/aurelius.htm1\"><span style=\"font-size: 12pt\">www.wsu.edu:8080/~wldciv/world_1/aurelius.htm1</span></a><span style=\"font-size: 12pt\">.<span> </span>ed. Paul Brians. Department of English Washington State University.<span> </span>2/10/2011. </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\">“Marcus Aurelius Meditations: Public domain translation and introduction to the meditations of<span> </span>the emperor Marcus Aurelius.”http://ancienthistory.about.com/library/bl/bl_aurelius_intro 2/19/2011</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12pt\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n\n﻿</div>','GaryDyer-TCP1','','inherit','open','open','','508-revision','','','2011-02-25 19:21:28','2011-02-26 01:21:28','',508,'http://jeanatacc.com/2011/?p=510',0,'revision','',0),(513,1,'2011-02-26 16:14:51','2011-02-26 22:14:51','The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\r\n\r\nIt is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\r\n\r\nThe oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\r\n\r\nThe acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\r\n\r\nThe athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\r\n\r\nIt is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas)\r\n\r\nWorks cited\r\n\r\nAthens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas - GR). Web. 15 Feb. 2011. . Provided a lot of information about the modern athens and restoration\r\n\r\nPalmer, Allison Lee. A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.\r\n\r\nSakoulas, Thomas. \"Acropolis History.\" Ancient Greece. Web. 9 Feb. 2011. .','The Acropolis in Athens','','inherit','open','open','','174-revision-7','','','2011-02-26 16:14:51','2011-02-26 22:14:51','',174,'http://jeanatacc.com/2011/?p=513',0,'revision','',0),(514,1,'2011-02-26 16:15:36','2011-02-26 22:15:36','The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\r\n\r\nIt is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\r\n\r\nThe oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\r\n\r\nThe acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\r\n\r\nThe athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\r\n\r\nIt is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas)\r\n\r\nAthens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas - GR). Web. 15 Feb. 2011. http://www.acropolisofathens.gr/. Provided a lot of information about the modern athens and restoration\r\n\r\nPalmer, Allison Lee. A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.\r\n\r\nSakoulas, Thomas. \"Acropolis History.\" Ancient Greece. Web. 9 Feb. 2011. http://www.ancient-greece.org/history/acropolis.html.','The Acropolis in Athens','','inherit','open','open','','174-revision-8','','','2011-02-26 16:15:36','2011-02-26 22:15:36','',174,'http://jeanatacc.com/2011/?p=514',0,'revision','',0),