Ovid Metamorphoses Titian Perseus and Andromeda

Ovid Metamorphoses Titian Perseus and Andromeda As a painting, Perseus and Andromeda (Plate 3.6) cannot narrate the events in the same way as Ovids text, but instead captures the moment of Perseus fight with the sea monster. Titians painting could be considered a translation of Ovids poem insomuch as the key elements of Ovids myth remain; it is authentic in its representation and there are enough correspondences between the two pieces to make it clear that Ovids Metamorphoses is Titians original source. Having said that, Titian produced Perseus and Andromeda for a specific person and purpose, in the manner of other Renaissance artists, and, it was intended to be viewed together with the rest of the Poesie (Gould), so the painting could be described as a hybrid, or even a refiguration of the Ovidian legend. The painting shows Andromeda chained to a rock, her vulnerable pose contrasting plainly with Perseus powerful lunge. There is no mention in Ovids text of either Perseus or Andromedas clothing, except for Perseus sandals; Titian has respected Ovids work in this aspect, giving Perseus his winged sandals instead of the Pegasus that other artists have favoured. Andromedas nakedness in the painting symbolizes her innocence and vulnerability, characteristics also shown in Metamorphoses (Ovid 670-675), and also reflects the Renaissance culture in which the painting was produced. Gould quotes Titians letters to Philip II as evidence of the erotic aspect of Andromedas nudity, particularly when considered with the other poesia. (Gould) This nudity, when taken together with the bright colours used for Perseus clothing, places the emphasis clearly on the soon-to-be couple; our eyes are immediately drawn to the helpless girl awaiting rescue by her hero. Ovid also seems to highlight the heros figh t, dedicating almost a third of the full narrative to it. Titian parts from his source however, by consigning Andromedas parents to the background, if in fact, they appear at all in the extreme right background, a city is visible, and on the shore, a group of people; it is not clear however, whether this group includes her parents, or are those mentioned towards the end of Ovids tale (Ovid 735). Titian again follows the Metamorphoses with his inclusion of what appear to be shells and coral at Andromedas feet. The shells presumably represent the Nereids and are a reminder of the reason for Andromedas fate, while the coral recalling Ovids allegorical description of its creation (Ovid 740-753). The remaining part of Ovids narrative, Perseus sacrifices to the gods, does not appear in Titians painting. This may be simply because, in concentrating on Perseus fight with a sea monster, the painting necessarily becomes a seascape and the sacrifices that Ovid describes occur on land. In my opinion, Titians representation of Perseus and Andromeda is sympathetic to his source and invokes the excitement of Ovids own words. The Renaissance representation reflects some of Ovids more misogynistic elements. My only criticism of the Titian piece is the figure of Perseus, who seems to me to be falling, not fighting. Personally, this gives the painting a comic aspect that Im sure the artist had not intended and detracts from Ovids own emphatic telling of the myth. Part 2 (75 marks) Write an essay of not more than 2,000 words on the following. In what ways does Ovid manipulate a myth in order to highlight his theme of metamorphosis? Do you consider that this technique can lessen the myths impact and coherence at times? Answer with reference to a specific mythic narrative in Metamorphoses. Ovids epic poem brings together a collection of formerly unrelated myths connected by a mutual theme; metamorphosis. The transformations described by Ovid usually occur as a result of love or lust, consensual or otherwise, and are often used to explain the origins of particular animals, plants or natural phenomena. Since Ovid wrote his Metamorphoses, it has often been used as a source of myth, however, when compared to other sources, it is clear that Ovid manipulated the myths, displaying his knowledge of the myths and combining and separating them into new forms to suit his own agenda. Of course, it is the nature of myth that they should be moulded and transformed in each retelling, and this is evidenced in the extant works of the Greek tragedians. Ovid is, at times, faithful to his sources, but at others, he appears to delight in his manipulation of the traditional myths. Ovids chosen theme of transformation is not only seen explicitly within the myths, for example in Arachnes transformation into a spider (Ovid 6.140-145), but also implicitly in Ovids own transformation of the received version of the myths in the classical world. Homer or Hesiods treatment of myth is serious and deliberate, revealing much about the gods destructiveness, unpredictable moods, loves, and personal vendettas, appearing to define the authors perceptions of life itself. While the events may be dramatic, irrational or even comical, they are presented as serious perceptions on the way things are. Modern readers can understand how such tales would explain things such as natural phenomena or the existence of certain creatures. Ovids Metamorphoses however, appears to be primarily a collection of stories for the sake of entertainment and Ovids own fame. Whilst some of the myths retain their didactic elements, for example, Teiresias prophecy that Narcissus would live a long life so long as he never knows himself (Ovid 3.348), others appear to simply emphasize the gods desire to punish, for example Dianas punishment of Actaeon (Ovid 3.139-252). In fact, this change in attitude to the myths in the removal of some of the moral significance can also be described as a metamorphosis. Ovid also includes other transformations in his epic poem, such as transformations in human culture or in the natural world. Ovid highlights his theme throughout the Metamorphoses, emphasizing that everything changes, and that in fact, is the only constant (Ovid 15.176-452). The transformation of Narcissus is one of the best-known of the Greek myths and has inspired writers and artists for over two thousand years. There are several extant versions of the myth; the most well-known of these is Ovids version, found in Book III of his Metamorphoses (completed 8AD). Until recently, scholars assumed that Ovids version was the earliest; however an earlier version was discovered among the Oxryynchus papyri prompting Dr Benjamin Henry, the Oxford scholar who discovered the poem, to claim that the myth was altered by Ovid to broaden its appeal (Keys). This version, attributed to the poet Parthenius of Nicaea, is thought to have been composed some 40 years before Ovids version, and ends with Narcissus committing suicide. Conon, a contemporary of Ovids, tells the same myth in his Narrations and like Parthenius, ends it with Narcissus suicide, while Pausanias later version has Narcissus fall in love not with himself, but with his twin sister (Jacoby). Conons version is a more moral telling of the myth that sees Narcissus punished by the gods for his pride and vanity. The young man Aminias fell in love with Narcissus, and, like his fellow suitors was spurned by him, so took his sword and killed himself by the door, calling on the goddess Nemesis to avenge him. (Atsma) As a result of Nemesis curse, Narcissus fell in love with a reflection of himself in a stream, and in despair and guilt over his treatment of Aminias, Narcissus killed himself. That his death was more brutal than that portrayed in Ovids Metamorphoses is clear in Conons claim that From his blood sprang the flower. (Atsma) Ovids version of the myth begins with Teiresias prophecy that Narcissus should never know himself (Ovid 3.348), and then digresses with the tale of Echo. Echo, cursed by Juno for helping Jupiter to conceal his adultery, was only able to repeat the words she heard at the end of a sentence and never reply for herself (Ovid 3.369). When she saw Narcissus hunting in the woods, she, like many others before her, fell in love with him and followed him, repeating his last words in an attempt to communicate with him. When finally, feels encouraged enough by his words We must come together! (Ovid 3.386) to show herself, he rejects her harshly, Hands off! May I die before you enjoy my body! This is an ironic choice of words give his imminent demise, and Ovid is manipulating the tone here to reflect his earlier description of Narcissus as hard and proud (Ovid 3.353). Echo was left ashamed and broken-hearted, eventually wasting away until only her voice, an echo, remained. The connection betwee n Echo and Narcissus appears to be Ovids own invention since there are no earlier accounts that link the two characters. Ovids departure from the received narrative enables him to include two further metamorphoses in this poem. The first of these occurs when, in her anger, Juno transforms Echo from the crafty nymph with a prattling tongue (Ovid 3.367) to a poor creature (Ovid 3.374) who could only repeat others words, the second when Narcissus rejection of Echo triggers her further transformation into a mere voice (Ovid 3.359). The inclusion of Echo in the Narcissus narrative may not have been usual in Ovids time, but my first reading of the Narcissus myth was in Ovids Metamorphoses, so for me, the two characters have become truly interlinked. I am not inclined to pity Narcissus, so for me, the Echo story heightens the tragic timbre of the full narrative. Without the inclusion of Echo, the Narcissus myth becomes simply a story of a proud, arrogant boy getting his comeuppance, but Echos story invites compassion and even a desire for justice. Together with the additional opportunities for metamorphoses that her story provides, Ovids inclusion of Echo as a new part of the Narcissus myth was in my opinion, inspired, and resulted in a more compelling story. With his metamorphoses of Echo complete, Ovid returns the focus to Narcissus; at the appeal of one of his scorned admirers (Ovid 3.404), Nemesis curses Narcissus to fall in love and never obtain his desire (Ovid 3.405). We then encounter the first of Narcissus transformations the change from thirsting for water to thirsting for himself. Another transformation is Narcissus own character, changing from an arrogant youth with a heart so hard and proud (Ovid 3.354) through love to an anguished youth who welcomes death as an end to his heartache. Ovid subtly alludes to these more implicit transformations that infuse his Metamorphoses. Of course the most explicit transformation of the Echo and Narcissus story is Narcissus own transformation into the narcissus flower. This is the climax of the myth, the realisation of the theme of metamorphosis. Narcissus metamorphosis is the result of his pride, vanity, and his treatment of his admirers; as he rejected others, he is rejected by himself, becoming both the subject and object of unrequited love. Even in death, Ovid suggests that his arrogance continues; as he crossed the Styx to ghostly Hades, he gazed at himself in the river (Ovid 3.504). Ovid builds the suspense of the transformation itself gradually, not revealing the outcome until the final line in the narrative; The body, however, was not to be found only a flower with a trumpet of gold and pale white petals (Ovid 3.510). The fact that the narrative ends with the resulting metamorphosis illustrates Ovids desire to highlight his theme. Ovid uses metamorphosis to explore the social and cultural ramifications of th e events in his poem, for example, Narcissus harsh treatment of Echo resulted in her transformation into a mere voice (Ovid 3.359) Echo essentially lost herself to love. Gildenhard and Zissos believe that the poetic form of Metamorphoses is interrupted by the story of Narcissus, claiming that this confirms that the inclusion of this myth was an afterthought that Ovid felt was necessary to verify Teiresias prophecies. They believe that the Narcissus myth is a replacement for the Oedipal figure that would be expected at this point in the Theban books, quoting Hardies comments that Behind the Narcissus story there hovers the figure of the Sophoclean Oedipus, the glaring absence from the narrative surface of Ovids Theban books, Metamorphoses 3 and 4, but a ghostly presence in much of the drama of blindness, sight, and insight, particularly of the third book. (Gildenhard and Zissos 3) Their essay explores the intertextuality between Sophocles Oedipus Tyrannus and Ovids Narcissus myth, claiming that Oedipus and Narcissus emerge as thematic mirror reflections of each other (Gildenhard and Zissos 13). Gildenhard and Zissos conclude that Ovids inclusion of Na rcissus over Oedipus stems from a desire to concentrate on the members of Cadmus family, and that Oedipus tale would [not] have lent itself easily to inclusion within the tight-knit patterning of Cadmus daughters and nephews (Gildenhard and Zissos 17). However, in my opinion, the story of Echo and Narcissus is simply more appropriate to Ovids chosen theme. Even if Ovid did include it as an afterthought, or a way of proving Teiresias prophecies, he does so in such a way that it amplifies his metamorphosis theme. The story of Echo and Narcissus is one of my favourite classical myths, and also inspired one of my favourite paintings Salvador Dalis Metamorphosis of Narcissus. The tragedy, the anger and the justice of the myth come together with the transformations of the characters to produce a captivating story. The freshness and originality with which Ovid presents a well-known tale make it uniquely Ovidian. His writing is vivid and the story moves quickly, and whilst some may consider the inclusion of Echo a digression, the narrative still flows. In my opinion, Ovids manipulation of some of the key elements of the myth helps to enhance it further. The Parthenius and Conon versions of the myth that end in the suicide of Narcissus lack the poetic justice of Ovids slow decline. In Ovids versions of the myth, Narcissus gradual fading away mirrors Echos demise, and in this way, once again highlights Ovids theme of metamorphoses. When Narcissus is dying, he is not concerned about the world around him, about food, drink or sleep; he takes his last breath by the image he has fallen in love with but can never obtain (Ovid 3.405), and so dies alone, without love. Ovids masterful handling of the narrative gives it an intensity that can be hard to find in retellings of classical myths, but Ovids Echo and Narcissus has stood the test of time and continues to inspire other writers and artists even today. WORD COUNT: 1829

Create dramatic tension Essay

English Coursework- How does Miller use Eddie to create dramatic tension for the audience in ‘A View From A Bridge’?  We could say that ‘A View from a bridge,’ is a tragedy for a number of reasons. Most importantly, if we compare the work of Arthur Miller to a Greek tragedy, we can immediately draw a parallel.  In a Greek tragedy, the hero or protagonist always has a fatal flaw or harmatia in his character. This causes him to make a bad decision, or to commit an unnatural act, which then spirals into the characters peripeteia or eventual downfall. He must then learn his mistake, suffer for his unnatural act and (usually) die. Another important characteristic of a Greek tragedy is the chorus. Usually a single character takes this role and is used to summarize the play, introduce new characters, and explain any action taking place.  The two important things that make the chorus speaker different from an ordinary character are that he can speak directly with the audience, but cannot intervene at any point in the play- a useful device for creating dramatic tension. The idea of a tragic protagonist is illustrated in ‘A View from a bridge,’ using Eddie Carbone, a typical ‘Joe Bloggs’ created by Miller to illustrate an ordinary person, or representative of a nation or class.  Eddie is a very ordinary man, decent, hard working and charitable, a man no one could dislike. This is significant because it causes the audience to feel both pity and fear for the character of Eddie. However, like the protagonist of an ancient drama, he has a fatal flaw or harmatia, in the form of the lust he harbors for his niece Catherine.  Eddie does not really understand his improper desire for Catherine, and thus is unable to hide it from those around him or from the audience. In him, we see this primitive impulse naked, or exposed. This explains Alfieri’s remark at the end of the play, when he says that Eddie â€Å"allowed himself to be wholly known.’  It is Eddie’s desire for Catherine that drives him into making a wrong decision. When the cousins Marco and Rodolpho arrive from Italy, and Catherine falls for Rodolpho, Eddie’s jealousy overboils in the form of a bad decision in this case -calling the Immigration Bureau. The consequences, both social and psychological, of this wrong action, destroy him. As Aristotle said,’ at best, a tragic hero would evoke pity and terror from the audience if he is neither thoroughly good nor thoroughly evil, but a mixture of both.’ This is a perfect combination to create dramatic tension for the audience, because as the audience is ordinary, or mortal like Eddie, we feel terror when we see him make a bad decision, because we know that we are capable of making a bad judgement too. Thus we feel pity for Eddie, as his ‘crime’ doesn’t seem evil enough for the degree of suffering he goes through. It seems his suffering is disproportionate to his flaw. The terror felt by the audience is greatly added to by Alfieri, the chorus speaker, who is used throughout the play to promote a sense of tragedy and inevitability, largely due to the fact that he cannot intervene. This leaves the audience powerless to watch the plot ‘run its bloody course,’ linking back to the idea of inescapable fate or destiny. This makes for a powerful dramatic device, as the audience are compelled to watch what will become of Eddie, even though, deep down, we are almost certain of his untimely end. Alfieri is also important, as he helps to summarize the play, introduce new characters, and explain any action taking place. He also helps clarify the plot to the audience, and hints at underlying themes in the rest of the book -especially the links to justice, poverty, and tragedy. He presents the idea of justice in Sicilian communities by mentioning Yale and other gangsters, and highlights how important justice is to Italians.

Undarstending Life of Older Persons with Special Needs

CHERRYFIELDS HOUSING WITH CARE Address 2D Cherryfields Lawn Hartstown Clonsilla Dublin 15 01 8097 134 begin_of_the_skype_highlighting  [pic]FREE  01 8097 134  end_of_the_skype_highlighting Information Staff is trained to Fetac Level 5 Residents are involved in agreeing their individual plan of care and support which includes medication management, personal care needs, diet/nutrition, social, spiritual and emotional care, all of which are enshrined in the core values of the Organisation.Cherryfields opened in 2006 as the first scheme of its type in Dublin, offering another choice in care to those in need of a more supported living environment. Cherryfields provides 27 units of accommodation specifically for dementia care and 29 units for older people in need of 24 hour care and support. Cherryfields is not a Nursing Home and residents in upstairs accommodation have complete freedom to come and go as they please. Each dwelling is carpeted; ensuite bathrooms are provided with non slip flooring.A range of storage is provided within each dwelling, including lockable units for use by residents. Each dwelling has a TV and telephone point. Residents have a key to the front door of their own dwelling. Staff call points are provided throughout each dwelling in case the resident requires assistance. Cherryfields provides a homely environment within easy access of local shops in Hartstown. At Cherryfields, Fold Ireland has provided three bungalows, each with 2 bedrooms, which are allocated in association with Fingal County Council. ACCOMODATIONFold Ireland currently has two Housing-with-Care Schemes in Dublin; Cherryfields is situated in Hartstown, Clonsilla, Dublin 15 and Anam Cara is in Glasnevin, Dublin 11. Each Scheme provides 56 units of accommodation; ground floor dwellings in each location provide a secure environment for those with dementia. Residents have their own flat let. This is their own home, where each is encouraged to bring personal belongings to ma ke it a home-from-home. Each flat let has built-in wardrobes, en-suite and kitchenette, but is otherwise unfurnished.Both schemes have communal areas where residents can socialise and take part in group activities. Our Schemes have garden and/or patio areas for the residents to enjoy, which are secure, well maintained and sensory in nature. FACILITIES In Housing-with-Care, arrangements can be made for access to hairdressers, dentists, chiropodists and other professional services to come into the Scheme. Residents may of course choose to retain existing arrangements for such services. DINING Fold Ireland believes in providing a well balanced diet for residents using fresh and seasonal ingredients.When a resident moves in, we will discuss their dietary requirements, including any specially prescribed diet. The catering services are inspected by local Environmental Health Services ensuring full compliance with Safe Catering Guidelines and Food Hygiene requirements. Meals are generally served in communal dining rooms, allowing residents to meet and socialise in small groups. There are daily menu choices for each meal. ACTIVITIES Remaining active is the key to a long and health life. At Fold Ireland we embrace this, and Housing-with-Care provides a range of activities throughout the week.Residents are encouraged to bring their own ideas for activities and participate in developing the programme of events. From time to time day trips, shopping outings and evening social events may be arranged. HEALTH The health of our residents is as important to us as it is to you. Where possible residents will retain their own GP and other healthcare providers, or we will assist in arranging new providers where this is not possible. Fold Ireland will manage all aspects relating to medication if required, and can support residents to keep managing these themselves if that is an agreed choice.THE COAST OF HOUSING WITH CARE There is a weekly rent for the accommodation and charge for care services provided. These prices have been agreed with the HSE. The care costs are means tested by the HSE and the rent is payable by the tenant at a rate of â‚ ¬108 per week. Tenants must contribute a small amount to the care costs each week pending their financial situation. A financial assessment is completed by the HSE in order to decide this. The HSE meets each tenant before moving into the schemes. Included in the charge are the resident’s meals, heating, electricity, laundry services and repairs to the property.Services that are not included within the weekly charge are those of a personal choice including: a telephone in your room, hairdressing, chiropody and prescription charges. ELDERLY PEOPLE&THOSE WITH DEMENTIA Our Housing-with-Care schemes for Older People and those with dementia provide a relaxing and friendly atmosphere where the residents can feel secure and cared for. These schemes provide tailored care and support to residents, whilst promoting a heal thy lifestyle through social activities, exercise and other activities agreed with the residents.Residents are encouraged, where possible, to remain in control of their affairs, maintaining their independence for as long as possible. For those with dementia we aim to prolong our residents' cognitive and mental skills through a range of daily activities, which enable them to exercise their minds and bodies. This not only engages them but also provides an ideal opportunity for each resident to socialise. Fold Ireland understands that it is not only the person with dementia that is affected by this condition; it's their family, friends and careers as well.We offer support as needed while the resident progresses through the dementia condition. Fold Ireland works in association with The Health Service Executive. HSE undertakes unannounced, periodic, inspections at both Housing-with-Care Schemes. BIBLIOGRAPHY: †¢ http://www. foldireland. ie/ †¢ http://www. foldireland. ie/pages/ 24/elderly-people-and-those-with-dementia †¢ http://www. foldireland. ie/pages/30/the-cost-of-housing-with-care †¢ http://www. foldireland. ie/pages/29/health †¢

The Epidemic Of Polio And Its Effects On Children

Unvaccinated children are not only at great risk for dangerous infectious diseases, but they also pose a serious threat to the well-being of society as a whole. The Center for Disease Control (CDC) recommends that all children receive a series of twenty-four vaccinations, protecting against fourteen diseases, by the age of two. These are essential for additional immunization requirements later in life for attending public schools as well as a variety of occupations working with the general public. Parents should be required to follow these recommendations, without exception. Starting as a distinctive rash, smallpox progresses into painful blisters and ultimately ends in permeate disfigurement and often death. This incredibly contagious disease claimed the lives of roughly 300 million to 500 million people in Europe until the 19th century. Thanks to widespread vaccination, the number of American smallpox victims decreased from 100,000 people in 1921, to less than 50 in 1939. Today smallpox is virtually nonexistent, and vaccinations are no longer necessary. Another disease known for its painfully unpleasant symptoms and high mortality rate is Polio. Polio caused more than 15,000 cases of paralysis in the US in the 1950s. After a vaccine was developed and administered rapidly, less than 100 Americans suffered from polio in the 1960s. Since then, there haven’t been any reported cases of Polio originating in the US. When vaccinated at high rates, a population can dramaticallyShow MoreRelatedVaccinations Should Be Mandatory For Children862 Words   |  4 PagesVaccinations should be mandatory for children because the benefits outweigh the side effects, they decrease the likely hood of a disease outbreak, and saves children s lives. However, it is possible that this type of law could set a president for the government to start making other medical decisions for its citizens. Like all medications vaccines also come with the risk of side effects. 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