MIT Movies Emeritus

MIT Movies Emeritus Before I say what I have to say about video, remember: Blogger applications are due by August 1st! As in Monday! Get them in on time so that I have something to read next week in addition to furiously refreshing Ochocincos twitter  now that he has finally united with his longtime BFF, Bill Belichick. In other admissions news, we just posted some old movies about MIT, and I thought Id share them on the blog as well. MIT: The Motion Picture (1992) You may have seen MIT: The Motion Picture on our homepage or elsewhere: While it is incredibly dated now though not without a certain comforting character for those of us old enough to remember videotapes it was, at the time, a major production. It cost hundreds of thousands of dollars and was produced entirely by a major Madison Avenue marketing firm, and was taken on the road for the better part of a decade to show people all across the country something about MIT. But MIT: The Motion Picture was not the first movie produced by MIT or the Admissions Office. Below are two more from the archives and we do mean archives hosted by MIT TechTV. See if you can spot what has changed and what has stayed the same! MIT: The Social Beaver (1954) mw.setConfig('EmbedPlayer.AttributionButton',false); mw.setConfig('EmbedPlayer.EnableOptionsMenu',false); MIT Tech TV A promotional film for prospective students and visitors to MIT, “The Social Beaver” focuses on the community living and range of social and cultural activities that round out a student’s life at MIT, from music groups to hobby clubs, the traditional Field Day competitions and dormitory life. The film was written and directed by MIT alumnus Oscar Henry Horowitz ‘22 and features original music played by MIT Concert Band composed by Andrew Kazdin. Courtesy of the MIT Museum. MIT: Technology 1934 (1934) mw.setConfig('EmbedPlayer.AttributionButton',false); mw.setConfig('EmbedPlayer.EnableOptionsMenu',false); MIT Tech TV This silent film, which offers us a marvelous vintage tour of the Institute, was produced by MIT in 1934 “for all who might be interested in knowing more about the Institute and its significance in the world of Science, Art and Engineering,” for alumni, “to awaken happy memories of undergraduate days,” and for prospective students, to showcase life at MIT “as seen through the eyes of a boy of pre-college age. It documents students and instructors conducting research in laboratories and in the field as well as daily activities beyond the academic realm. MIT notables who make an appearance include Karl Compton, Harold Edgerton, George Owen and James Libby Tryon. Film to HD transfer courtesy of MIT150. MIT Museum Collections.

Analysis of The Diabetes Prevention Program Free Essay Example, 5250 words

The purpose of this report is to examine the many problems that are associated with diabetes as well as how this can be prevented. Specifically, there will be a basis for optimizing the health and well being of those with diabetes. The prevention will be combined with methodologies which can be implied to improve the health of those that have already been diagnosed with diabetes. By doing this, there is the ability to increase the conditions of those who are suffering from the disease while continuing to alter and slow down the process of diabetes that affects those with the problem. This develops a different approach to the problem while allowing those with the disease to begin to change their lifestyle alternatives and approaches to the disease. It is expected that this will create and change the problem of strategic suffering. This is based on the options for diabetes which leads to more discomfort and a lack of comfort and well being. The ongoing psychological distress and phy sical discomfort can be changed and reversed with the right approaches while allowing individuals to begin to develop a different lifestyle in relation to the disease (Mendenhall, Seligman, 2010). We will write a custom essay sample on Analysis of The Diabetes Prevention Program or any topic specifically for you Only $17.96 $11.86/page The health-related quality of life of those that have diabetes is one which is noted to continue to deteriorate from the time of diagnosis and into the complex stages of diabetes. According to a recent study (Lindsay et al, 2011), there are specific problem areas with health and well being with those who have diabetes.

#15 Synthesis of Ethyl Salicylate from Salicylic Acid

#15 Synthesis of Ethyl Salicylate from Salicylic Acid ____________________________________________________________ _______________ Purpose: Salicylic acid is converted to the liquid ethyl salicylate by addition of ethanol. Yields of salicylic acid (week 1) and ethyl salicylate will be found, as well as the overall yield of the 2-step conversion of acetyl salicylic acid to ethyl salicylate. Introduction: Esters are formed from the reaction of acids and alcohols: O O || || R-C-OH + HO-R’ → R-C-OR’ + H2O acid alcohol ester water The pleasant smelling oil of ethyl salicylate is made by reacting salicylic acid (week 1) with excess†¦show more content†¦Overall Yield for 2 steps (product of 2 yields above) : Questions: 1. Recalculate the overall yield for a three-step process including the 75% extraction. 2. The synthesis of a new drug may require as many as 30 steps, some of which produce much less than 90% yields. Comment on this (without doing any calculations). ____________________________________________________________ _______________5 Instructor’s Guide Ethyl Salicylate Part B: Melting Points Compound Measured Melting Point (ËšC) Literature Value (ËšC) Acetyl Salicylic Acid 134 134 - 135 Salicylic Acid 159 158 - 160 Yields: Assuming ASA (from extraction of 50 aspirin tablets) = 12 g SA (from hydrolysis of ASA) 7.3 g Reactant SA esterified: 7.0 g (usually most of the amount above) Approximate volume of ethyl salicylate: 3.0 mL (density ES = 1.1 g/mL) Mass ethyl salicylate 3.3 g Maximum g SA: 10 g ASA x 1 mol ASA x 1 mol SA x 138 g SA = 9.2 g SA 180 g ASA 1 mol ASA 1 mol SA Maximum g ES: 7.0 g SA x 1 mol SA x 1 mol ES x 166 g ES = 8.4 g ES 138 g SA 1 mol SA 1 mol ES Enter amounts where indicated in the table below and find the yields. Reaction Reactant → Product Mass Reactant (g) Mass Product (g) Maximum MassShow MoreRelatedSynthesis of Salicylic Acid and Potentiometric Determination of Its Purity and Dissociation Constant4209 Words   |  17 PagesSynthesis of Salicylic Acid and Potentiometric Determination of its Purity and Dissociation Constant ------------------------------------------------- Abstract The purpose of the study is to synthesize salicylic acid from the ester, methyl salicylate, and determine the acid’s dissociation constant and purity. The ester was converted to salicylic acid by base hydrolysis. The products were refluxed and recrystallized, to ensure maximum purity, and filtered, dried, and weighed. The melting point

The Industrial Revolution and Romanticism Free Essays

The Industrial Revolution and the Romantic Spirit The Industrial Revolution refers to a series of significant shifts in traditional practices of agriculture, manufacturing, and transportation, as well as the development of new mechanical technologies that took place between the late 18th and 19th centuries in much of the Western world. During this time, the United Kingdom, as well as the rest of Europe and the United States soon after, underwent drastic socio-economic and cultural changes during this time. These changes in part gave rise to the English Romantic spirit, especially in the United Kingdom. We will write a custom essay sample on The Industrial Revolution and Romanticism or any similar topic only for you Order Now During the late 18th century, the United Kingdom’s economic system of manual and animal based labor shifted toward a system of machine manufacturing while more readily navigable roads, canals, and railroads for trade began to develop. Steam power underpinned the dramatic increase in production capacity, as did the rather sudden development of metal tools and complex machines for manufacturing purposes. The Industrial Revolution had a profound effect upon society in the United Kingdom. It gave rise to the working and middle classes and allowed them to overcome the long-standing economic oppression that they had endured for centuries beneath the gentry and nobility. However, while employment opportunities increased for common working people throughout the country and members of the middle class were able to become business owners more easily, the conditions workers often labored under were brutal. Further, many of them were barely able to live off of the wages they earned. During this time, the industrial factory was created (which, in turn, gave rise to the modern city). Conditions within these factories were often dirty and, by today’s standards, unethical: children were frequently used and abused for labor purposes and long hours were required for work. A group of people in the United Kingdom now as the Ululated felt that industrialization was ultimately inhumane and took to protesting and sometimes sabotaging industrial machines and factories. While industrialization led to incredible technological developments throughout the Western world, many historians now argue that industrialization also caused severe reductions in living standards for workers both within the United Kingdom and throughout the rest of the industrialized Western world. However, the new middle and working classes that industrialism had established led to arbitration throughout industrial cultures, drastic population increases, and the introduction of relatively new economic system known as capitalism. The Romantic Movement developed in the United Kingdom in the wake of, and in some measure as a response to, the Industrial Revolution. Many English intellectuals and artists in the early 19th century considered industrialism inhumane and unnatural and revolted?sometimes quite violently?against what they felt to be the increasingly inhumane and unnatural mechanization of modern life. Poets such as Lord Byron (particular in his addresses to the House of Lords) and William Blake (most notably in his poem â€Å"The Chimney Sweeper†) spoke out?and wrote extensively bout?the psychological and social affects of the Sailor URL: http://www. Layer. Org/ courses/engaged/ The Sailor Foundation Sailor. Org Page 1 of 2 newly industrial world upon the individual and felt rampant industrialization to be entirely counter to the human spirit and intrinsic rights of men. Many English Romantic intellectuals and artists felt that the modern industrial world was harsh and deadening to the senses an d spirit and called for a return, both in life and in spirit, to the emotional and natural, as well as the ideals of the pre-industrial past. Sailor URL: http://www. Sailor. Org/courses/engaged/ Page 2 of 2 How to cite The Industrial Revolution and Romanticism, Papers

Reflecting the Concept of Social Rank in Courtly Texts Methods and Strategies.

Analysis Defining the specifics of social relationships and analyzing the principles in accordance with which these relationships develop is, perhaps, one of the most complicated tasks for a writer of courtly texts.Advertising We will write a custom essay sample on Reflecting the Concept of Social Rank in Courtly Texts: Methods and Strategies. specifically for you for only $16.05 $11/page Learn More Because of a large variety of factors, starting with the complexity of the leadership model adopted by the head of the state, up to the structure of the society in question and the traditions of the time, the means of defining social ranks turns into a major problem. However, with the help of an array of literary tools, the authors of some of the most famous courtly texts, Benvenuto Cellini with his Vita and Baldesar Castiglione in his The Book of the Courtier manage to nail down the specifics of social relationships in a very accurate manner. One of the most famous representatives of courtly texts writers, Castiglione used assorted methods of introducing his idea of social ranks in court. Although his concept of social ranks was also largely based on the idea of masculinity, Castiglione used different tools in order to convince the reader in the necessity to follow the principles of gender profiling. The examples of gender based social ranking within the court system can be found throughout the text: â€Å"I bear to women as these ladies think, but for my own good†1. However, some researchers argue that Castiglione was, in fact, the first to suggest that the courtly relationships between men and women should be based on the principles of chivalry, along with the ideas of â€Å"kindness and noble courtesy†2. Therefore, apart from masculinity, nobility principles should be mentioned as the elements required for the court social rankings to base on, Castiglione explained3. Castiglione’s text is a perfect example of hu manist principles working their way into the society of the XV century.Advertising Looking for essay on comparative literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Another peculiar concept that Castiglione seems to cling to concerns the phenomenon that Bernard4 defined as rhetoric of exemplification. Not only does it allow envisioning the court system in motion, but also link the actual reader and the internal reader. In contrast to Castiglione, Cellini uses more obvious methods to define social ranks. In fact, Cellini disregards the idea of incorporating more subtle literary devices and shifts the emphasis from a slight mimicry of social relationships in his work, as Castiglione suggests, to downright instructing on the principles that social relationships must be based on. When it comes to defining the specifics of Cellini’s writing style, one must give him credit for using the imagery created throughout his work to his a dvantage. Not only does he mold characters efficiently, but also knows how to use them to make an impression on the reader. One of the most obvious â€Å"instructions† concerns the way in which Cellini envisions male – female relationships. Cellini obviously insists on male superiority, nearly comparing women to objects at some point of his work: â€Å"As a background to the women, there was spread an espalier of natural jasmines in full beauty†5. The given objectification of women often occurs on Cellini’s reminiscences, and is in most cases made by the narrator: â€Å"Now I must make you understand that the woman is mine†6. Another tool used by Cellini in his attempt to describe the system of social ranking within the court system, the transition from an artisan to an artist also deserves a proper mentioning7. In fact, Cellini reinvented the entire concept of being a courtier, stressing the significance of art as the means to separate the positio n of a courtier and any other position that a civilian may possibly take. Finally, such tool as self-representation deserves a thorough scrutiny. Indeed, when considering the approach that Benvenuto Cellini uses to describe the principles of social relationships and the concept of social rank, one will inevitably realize that the author does not analyze the environment that already exists but, instead, molds it in accordance with his vision of society.Advertising We will write a custom essay sample on Reflecting the Concept of Social Rank in Courtly Texts: Methods and Strategies. specifically for you for only $16.05 $11/page Learn More As a result, Cellini resorts to the methods that can be defined as mimesis. When taking a closer look at his work, one will eventually note that Cellini creates a model of social behavior for people to comply with and, therefore, defines the existing social ranks instead of providing his commentary on the already existing ones. Though hardly being a literary device, self-representation still makes the structure of social rank seem more palatable, since it allows defining the leader and, therefore, tracing the course of the directions that shape the society and grant its members with particular social ranks. According to Gardner, the given model adds an artistic touch to the strategy chosen by Cellini; she states explicitly that Cellini’s Viva broke new grounds as â€Å"an example of an individual’s attempt to mold his own reputation and historical legacy through a cohesive literary representation of his personality and his art†8. One should give Cellini credit for his idea of using masculinity as the key tool for defining the principles of social ranking. The given tool works rather well in the context of the text, yet hardly seems efficient on its own. Another tool that serves its purpose of defining the specifics of the social stratification of the era and at the same time con vinces the audience is a careful stylization of the text. It is remarkable that the choice of vocabulary made by the author has stood the test of time successfully: â€Å"the autobiography makes things easy by addressing the reader in a comfortable, if stylized, English [†¦]. A measure of the status of these translations has been the fact that no one ties to replace them with fresh, modern ones†9. Thus, the use of masculinity principles defines the roles that men and women are supposed to take within the court by stressing the necessity for the former to participate within the system, and for the latter to remain a part of the background.Advertising Looking for essay on comparative literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More It is quite peculiar that the process of objectification of women is practically described in Cellini’s book as he mentions the process of sculpting a lily, which serves as the metonymy for Gismondo’s wife (whose name is actually never mentioned in the book): â€Å"I promised the jewel should be twice as good as the model.†10 Correspondingly, Cellini assumes that women are not supposed to take active part in court meetings, as well as they must not offer and, worse yet, defend their point of view in court; on the contrary, women are viewed as damsels, the pretty faces that are not expected to have any significance of the court processes and course of events. Consequently, the manifestation of the artistic autonomy seems like the next obvious stem in Cellini’s design of social structure within the court. Apart from making it clear that a member of the court has to undergo a transformation from an artisan into an artist, Cellini states that the latter is su pposed to enjoy artistic autonomy for his actions to have a tangible effect on the artist’s subjects. It is worth stressing that Cellini uses a hyperbole to prove his point by claiming that artistic leaders â€Å"made a crown of artistic glory for their city above anything the world had seen†11, which shows that his means of reflecting the social rank were rather harsh and straightforward. The differences in the methods chosen by the authors in question are defined largely by the goals that these authors pursued in writing their books. While Castiglione was clearly trying to shed some light on the events of the epoch and provide a fairly decent account of the latter, Cellini was obviously trying to strengthen his power over the nation even more. As a result, the representation of the social rank in two texts did not quite match, Cellini’s one being more focused on the subordination issue When it comes to defining the differences in the way that Cellini and Casti glione described the social ranks of their time period, it should be mentioned that Castiglione used a wide range of tools that served their own unique purpose and were to reflect the true state of the society. It is obvious that Cellini’s take on the representation of the social ranking in his courtly autobiography is more than obvious – it is a straightforward, in your face manifestation of Cellini’s viewpoint, which is far from being democratic. The author clearly puts his stake on the expressivity of his arguments and the convincingness of his speech, which can be easily traced in the numerous reiterations of certain elements of his argument. The aforementioned masculinity, therefore, ousts the very idea of democratic relationships, as well as democratic attitudes towards women; quite on the opposite, masculinity serves as the means to subdue women to the dominance of men and to subdue any attempts of resistance against it. In many ways, Cellini’s sel f-representation defines the manner in which social ranks were depicted in courtly texts of the time. Castiglione, on the opposite, prefers to express his idea of the court members’ social roles and the position of men and women in court in a more discrete manner12. In addition, Castiglione does not seem to rely on his authority among readers when defining the key principles of social ranking in court. Instead, the author decides to integrate the principle of masculinity, which still remains the key to arranging court’s social ranks, together with the idea of introducing gentlemanly manners, as Hinz defined Castiglione’s strategy13. The given method works rather well with the target audience, even though it lacks the persistence that Cellini’s work has.  Cavallo, in her turn, makes it obvious that Castiglione uses portrait as the key tool in his representation of social ranks in court. In contrast to Cellini, Castiglione adopts – or, at the very least, pretends to adopt – an objective viewpoint by having several narrators in his story and, therefore, drawing a portrait of a courtier by using what is supposed to be several opinions. The efficacy of the given method is amplified by the fact that the narrators do not seem to agree on their visions of a courtier: â€Å"the critics have uncovered tensions on various forms which threaten to disrupt the game and to expose deep rifts under the elegant courtly veneer†14. Defined as the engagement of both the actual reader and the internal reader into the argument, the given method works quite well and is much more subtle than the one that was chosen by Cellini. According to Bernard, â€Å"Hence from the vantage point of the author the limited, indeed parochial, perspective of his text’s interlocutors stands in contrast to his own hard-won prudential knowledge† (Bernard 34). However, the aforementioned does not mean that Castiglione disregards the idea of using masculinity in his writing. There are evident traces of the chauvinist concepts in his work as well, which signify that the court was still organized in accordance with the idea of male dominance. Nevertheless, Castiglione uses other tools apart from masculinity principle in his work, which can be explained by his lack of certainty regarding the efficacy of masculinity in his persuasion. It should be noted, though, that the given authors were not the only ones who resorted to the integration of masculinity ideas into the principles that the court was guided by; as recent researches show, a number of theorists considered masculinity and the dominance of men in the court as the only legitimate principle that the latter could be organized by. Apart from the concept of masculinity and the gender issue in general, the authors make efficient use of a range of literary devices, including hyperbole and reiterations of the argument throughout the work. However, compared to the aforemen tioned distinctive feature of both works, the given devices can be seen as minor ones. Conclusion It would be wrong to assume that the methods of reasoning used by the two authors are impeccable; more to the point, they are rarely objective. However, what one cannot deny these authors with their methods is the efficacy of the latter. Although the emphasis on masculinity as the necessary feature of court social relationships is being stressed by both authors, Cellini seems to be more persistent with his chauvinist concepts, while Castiglione clearly attempts at introducing the elements of chivalry into the courtly relationships between men and women. In addition, Cellini, being obsessed with the idea of power, sees the social ranking system as the means to reinforce his influence among the representatives of the court, thus, stating blatantly that he needs to use the existing court system to his advantage. While the given principle works bizarrely well on the target audience of Celli ni, Castiglione understandably avoids black-and-white judgments, preferring to introduce the principles of courtesy into his system of social rankings. Each work clearly serving its purpose, it can be assumed that the tools used by both writers to represent the concept of social ranking within the court system are fully justified, though not quite appropriate in the XXI century. A product of their time, the given tools perform their social function well enough for their authors to be credited as innovators. Bibliography Bernard, John, ‘Formiamo un Cortegian’: Castiglione and the Aims of Writing,’ MLN 115 (2000), pp. 34–63. Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. Cavallo, Joan, ‘Joking Matters: Politics and Dissimilation in Castiglione’s Book of the Courier,’ Renaissance Quarterly 53 (2000), pp. 402–42 4. Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg http://www.gutenberg.org/dirs/etext03/7clln10h.htm. Creighton, Gilbert, ‘Cellini’s Other Medium: His Writings and Their Reception,’ Studies in the Decorative Art 14 (2006–2007), pp. 19–25. Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal 28 (1997), pp. 447–465. Hinz, Manfred, ‘Castiglione, Gracià ¡n, and the Foundation of Gentlemanly Manners in Early Modern Europe,’ in Dietmar Schloss, ed. Civilizing America: Manners and Civility in American Literature and Culture (Heidelberg, Germany: Università ¤tsverlag Winter, 2009), pp. 2-18 Richards, Jennifer, ‘Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero,’ Renaissance Quarterly 54 (2001), pp. 460-486. S accone, Eduardo, ‘The Portrait of the Courtier in Castiglione,’ Italica 64 (1987), pp. 1–18. Footnotes 1 Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. 2 Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. 3 Richards, Jennifer, ‘Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero,’ Renaissance Quarterly 54 (2001), pp. 460-486 (p. 462). 4 John Bernard, ‘Formiamo un Cortegian’: Castiglione and the Aims of Writing,’ MLN 115 (2000), pp. 34–63 (p. 35). 5 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg http://www.gutenberg.org/dirs/etext03/7clln10h.htm. 6 Cellini, Benvenuto, ‘Autobiography,’ tr ans. By John Addington Symmons, in Project Gutenberg http://www.gutenberg.org/dirs/etext03/7clln10h.htm. 7 Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal, 28 (1997), pp. 447–465. 8 Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal, 28 (1997), pp. 447–465 (p. 447). 9 Creighton, Gilbert, ‘Cellini’s Other Medium: His Writings and Their Reception,’ Studies in the Decorative Art 14 (2006–2007), pp. 19–25 (p. 19). 10 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg http://www.gutenberg.org/dirs/etext03/7clln10h.htm. 11 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg ht tp://www.gutenberg.org/dirs/etext03/7clln10h.htm. 12 Saccone, Eduardo, ‘The Portrait of the Courtier in Castiglione,’ Italica, 64 (1987), pp. 1–18 (p. 1). 13 Hinz, Manfred, ‘Castiglione, Gracià ¡n, and the Foundation of Gentlemanly Manners in Early Modern Europe,’ in Dietmar Schloss, ed. Civilizing America: Manners and Civility in American Literature and Culture (Heidelberg, Germany: Università ¤tsverlag Winter, 2009), pp. 2-18 (p.2). 14 Cavallo, Joan, ‘Joking Matters: Politics and Dissimilation in Castiglione’s Book of the Courier,’ Renaissance Quarterly 53 (2000), pp. 402–424 (p. 402). This essay on Reflecting the Concept of Social Rank in Courtly Texts: Methods and Strategies. was written and submitted by user Isaac Diaz to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Discovery Writing Paper 2

Discovery Writing Paper 2 Discovery Writing Paper 2 Running Head: Develop a 5-7 page paper that provides the following: a) part one provides an overview of thr theories presented about race, gender, sexualities, and social class; b) part two provides possible application of these theories to our understanding of what it means to be a person with erotic or sexual agency (control over one’s body, how it is treated, how it is treated, how it experiences pleasure) Titilayo Sanni November 3rd 2014 Proffesor: Dr. Cherie Ann Turpin General Education: Foundation Writing in Arts and Humanties IGED 210-06 2:00-3:20 Monday & Wednesday Develop a 5-7 page paper that provides the following: a) part one provides an overview of thr theories presented about race, gender, sexualities, and social class; b) part two provides possible application of these theories to our understanding of what it means to be a person with erotic or sexual agency (control over one’s body, how it is treated, how it is treated, how it experiences pleasure) After reading Cum Guzzling anal nurse whore: a feminist porn star manifesta notes by Lorelei Lee, she believed the theories presented about Gender, race, sexuality, and social class that even in todays age, gender roles still matters,even those of us who deeply question compulsory assignment of gender roles still get very excited by playing with masculinity and femininity at various ends of the spectrum and everything in-between. Lorelei lee is describe herself as a feminist by birth, she was raised with feminism the same way are raised with religion. Lorelei is a pornstar who have been in the porn industry for over 10 years. She learned who she was in terms of her sexual and gender identity by pretending in a very exaggerated way, to be who she wasnt. To her, race, class, gender, and sexuality are not fixed systems or traits of individuals because they are negotiated and contested every day in social relationships. Lee stated that in 2003 there was a study conducted at Ohio Universi ty which revealed that women are just as interested in sex as the opposite gender. The study reported that women’s (sexual activity) was closer to men’s than previously thought, meaning that women not only engage in sex often, but that they enjoy it just as much as men do. A troubling fact also came from the study was that â€Å"women who thought their (sexual history) might be seen by others tended to give answers that were more socially acceptable†, meaning women still fell the societal pressure to hide their sexuality. This is why she believed pornography was good for women because of the sexually explicit imagery in which women are shown giving performative demonstrations of their own sexual power is imagery that can transform the cultural paradigm and ultimately change the world and have the no shame in letting their pattners know what and how to please them sexuality. When women managers fail to promote other women because they believe that women are less capable than men. They also reinforce structures of race,class,gender,and sexuality dominanc. The same structure that have restricted their own lives. Lee introduced a shift in sexual standards for women, but she structured hierarchies of race, class and gender remained firmly intact. The middle class and working class faced very different expectations due to differing circumstances. According to Lorelei Every social situation is affected by

Odyssey Book IV - Summary of the Events

Odyssey Book IV - Summary of the Events Odyssey Study Guide Contents Telemachus and Pisistratus arrive at the court of Menelaus and Helen where they are welcomed, bathed, oiled, dressed, and feasted even though the royal couple is making their childrens wedding preparations. After they eat Menelaus hazards a guess that they are the sons of kings. He says that few among mortals have as much wealth as he although he has also lost much, including men; the one whose loss he most laments is Odysseus. He doesnt know whether Odysseus is dead or alive but when he sees how moved Telemachus is, he silently deduces that he is the son Odysseus left in Ithaca as a baby. Helen comes in and voices Menelaus suspicion. More stories bring more tears until Helen doses the wine with a pharmacopeia from magical Egypt. Helen talks about how Odysseus disguised himself to get inside Troy where only Helen recognized him. Helen helped him and said that she regretfully longed to be with the Greeks. Then Menelaus tells about Odysseus work with the wooden horse and how Helen almost undid it all by tempting the men inside to call out to her. Telemachus says its time to sleep, so he and Pisistratus sleep outside in the colonnade while the royal couple goes to their indoor bedroom. At dawn, Menelaus sits beside Telemachus. Menelaus asks why Telemachus came to Lacedaemon. Telemachus tells him about the suitors, which Menelaus says is shameful and Odysseus would do something about if he were there. Menelaus then tells Telemachus what he knows about Odysseus fate, which involves the story of meeting Proteus, the Old Man of the Sea, at Pharos. Proteus daughter, Eidothea, tells Menelaus to take 3 men (whom she covers with sheep skin) and wait until her father has finished counting his seals and fallen asleep. Then Menelaus is to grab Proteus and hold on regardless of whether Proteus becomes a lion, a boar, water, or fire. Only when Proteus stops morphing and starts asking questions should Menelaus let go and ask him how he can get out of Egypt. After gaining the necessary information about sacrifices and doubling back down the Nile, from Proteus, Menelaus inquires about Odysseus and learns he is being held by Calypso. Menelaus asks Telemachus to stay a while so he can gather together gifts. Telemachus says he wants to get going on his quest, but appreciates the gift offers. Theres only one problem, Ithaca is ill-suited to horses, so could he please exchange the kind offer of horses for something else? Menelaus agrees and thinks well of him for asking. Back in Ithaca, the man who lent the ship to Telemachus wants it back and asks the suitors if they know when it will return. This is the first the suitors know that Telemachus is gone. Penelope also hears about it for the first time and is distraught. She questions Eurycleia who dissuades Penelope from notifying old Laertes about his grandsons departure. The suitors plan to ambush and murder Telemachus on his return. They sail out to wait in a cove. Penelope is comforted by a dream phantom of her sister, Iphthime, to reassure her of Telemachus divine protection. Book III Summary|Book V Read a Public Domain translation of Odyssey Book IV. Odyssey Study Guide Contents This book suggests that Helen may have gone willingly to Troy and then later regretted her decision. Menelaus may not have entirely forgiven her. He changes the topic from her helpfulness towards the Greeks in her narrative about Odysseus to the related one of the men inside the horse who are tempted by her voice to call out to her. It is not clear why it matters whether Menelaus makes it back before Orestes does to kill Aegisthus, murderer of Agamemnon. Proteus tells Menelaus that because he is the husband of Helen, who is the daughter of Zeus, he will end up in a good spot in the afterlife, in the Elysian Fields. Telemachus had told his nurse Eurycleia about his plan but hadnt wanted his mother to know for fear she let on too soon. He had good reason as her tearful behavior shows. Had the suitors known any earlier, they might have killed him before he had accomplished anything. Mentor was recognized in the ship in which Telemachus set sail, but he was also seen in town. This doesnt present a problem. It is simply assumed that one, presumably the one with Telemachus, is a god in Mentor-disguise. Telemachus didnt turn down a present but asked if he could have something else instead because the present was unsuitable. I dont think we do that very much today because we are afraid of hurting feelings, but perhaps people today would react as Menelaus did perfectly amenable to replacing it with another. Near the start of the book, the familiar theme of hospitality creeps up. Menelaus is prepping for weddings, but when he hears there are strangers on his shore, he insists that they be properly entertained, and all, of course, before he questions his visitors. Odyssey in English Odyssey Study Guide Contents Telemachus - Son of Odysseus who was left as a baby when Odysseus went off 20 years earlier to fight in the Trojan War. Menelaus - king of Sparta and brother of Agamemnon. When Menelaus married Helen, a promise was extracted from all the rejected suitor-princes that they would come to the aid of Menelaus should anyone try to abduct her. Helen - daughter of Zeus and wife of Menelaus. Paris took her to Troy and the Greeks came to take her back, fighting the Trojan War over her. On her return, she and her husband Menelaus are long delayed in Egypt where Helen learns some of the magical properties of herbs. Pisistratus - Youngest son of Nestor. Younger brother of Trojan War fighters Antilochus and Thrasymedes. Pisistratos accompanies Telemachus on his journey. Proteus - the Old Man of the Sea. He herds seals and can change into any form. Menelaus has to hold onto him no matter what shape he changes into. His daughter is Eidothea, who not only helps Menelaus against her father, but s laughters four seals in order to provide covering for the men. Penelope - the faithful wife of Odysseus who has been keeping the suitors at bay. Iphthime - sister of Penelope, daughter of Lord Icarius and bride of Eumulus. A phantom of her is sent to comfort Penelope. Eurycleia - the old faithful servant who kept Telemachus secret when he left Ithaca and didnt want his mother to let on to the suitors. Antinous - The ringleader suitor who is approached for information about the ship Telemachus borrowed. He gathers together the suitors chosen to ambush and murder Telemachus. Profiles of Some of the Major Olympian Gods Involved in the Trojan War Poseidon Zeus Athena Notes on Book IV