Antigone An Irrational Desire - 829 Words

Throughout time society has developed a system from which humans are able to define good and bad, Ethics. Although Ethical norms have been adapted throughout the passing of time, its most intrinsic values have prevailed, enabling individuals to agree on standards of what good and bad are built on their moral standards. Morals are what give the individual the capacity to distinguish good from bad. In the ancient Greece morals were indeed the individuals perception of good, and bad however, these perceptions were greatly abided and driven by the divine laws imposed by the gods. In Antigone, a tragedy written by Sophocles, we see the how the main character defies the kings rules and stands for her own perception of what she believes is the rightful thing to do .We are able to able to see the decision chosen by the two main characters, Creon and Antigone are the ones to define and condemn their faith and the one of those who live around them. In Bernard Knox’s Introduction poet T. S. Eliot states, â€Å"Antigone did the right thing for the wrong reason†(pg53). I believe that Antigone by deciding to mourn for her dead brother does indeed the right things but for the wrongs reasons. Through her actions she evidently follows the ethical norms imposed by the Greek divine laws, but it is her moral judgment the one to ambiguously expose her true reasons, the fulfillment of an unalloyed lust, creating a rupture beyond the scopes of rationality by incarnating the simple desire of taking uponShow MoreRelatedConflict In Sophocless Antigone1507 Words   |  7 Pagesadmitted how that it was their fault, as well, by letting me text him. This is similar to the conflict in Antigone since my friends and I thought our decisions were the right things to do at the moment and did not think of the consequences. In the play Antigone, written by Sophocles, Antigone, Creon, and the gods were all to blame for all the issues that occurred in Thebes. The writing, Antigone, is about the struggle between knowing what is right and wrong when two laws contradict one another. TheRead MoreHow Morals Are Thrown Around Through The Actions And Speeches Of The Characters Creon And Antigone1213 Words   |  5 PagesIn the tragedy â€Å"Antigone† many ideas of morals are tossed around through the actions and speeches of the characters Creon and Antigone. Though these morals seem logical at first, it can later be seen that these two characters represent an over fixation on singular ideas, or morals, of life when it is taken to the extreme. This close mindedness ultimately leads to these character’s downfalls with Creon revealing that his moral extreme is the â€Å"political sphere† of life and Antigone, the â€Å"private sphere†Read MoreAnalysis Of Creon And Antigone : Kinship Versus The State711 Words   |  3 PagesCreon and Antigone represent the clash of ideologies: Kinship versus the state. In Sophocles’ day, traditional bond s of family and kinship were strong; however, Greek citizens had other claims on their loyalty—to the state. In an age of frequent wars, it was everyone’s concern to defend his/ her polis. Why? What does this concern guarantee? The concern to defend ones polis guaranteed some sort of safety, prosperity, and a stable â€Å"lifeboat† (189). Through the dedication to the state, there’s a largerRead MoreCreons Demonstrations of a Tragic Flaw in Sophocles’ Antigone705 Words   |  3 PagesIn Sophocles’ Antigone, the protagonist, Creon, serves as a great example of how recurring themes, such as the realization and recognition of a tragic flaw (hamartia), cause the downfall of the powerful in Greek literature. Sophocles is effective in portraying the concept of hamartia as an essential component in Creon’s downfall and, based on Aristotle’s characteristics of a tragic character, able to create a character that can be accurately and easily identified as the significant tragic characterRead MoreCreons Role of King and His Responsibilities1273 Words   |  6 Pagesthoughts towards the kingship in his speech defending himself from Oedipuss conspiracy accusation in Oedipus the King; these ambivalent thoughts reveal much about the nature of the kingship, especially in conjunction with Creons later actions in Antigone. In attempting to refute Oedipuss assertion that Creon has taken part in a conspiracy to obtain the kingship, Creon evaluates the nature of the kingship and of his present role. First, he says, Consider, first, if you think any one/ would chooseRead MoreEssay about The Greek Gods Did Not Think Before They Acted1615 Words   |  7 Pagesplay Antigone, the author follows the Aristotalean principles of a tragic heroine in contriving the character Antigone. One distinct component of a tragic hero that Antigone comprises of is that she comes from a noble family that holds a dignified stance in society and has good morals. As a descendent of the Labdacus family, Antigone comes from nobility as her father was once the King of Thebes. After her father passes away, Antigone’s uncle, Creon, becomes the new King. Consequently, Antigone attainsRead MoreRight Against Right in Antigone by Sophocles Essay example1091 Words   |  5 PagesThe German philosopher Hegel stated that the play Antigone written by Sophocles represents the tragic collision of right against right, with both sides equally justified. The play begins with tragedy and ends the same way. Polyneices and Eteocles were brothers whom killed each other in combat over the power of the throne. Creon, the brothers’ uncle, was the following family member to occupy the throne. But he did not desire the same pattern to repeat itself. Therefore he created a decree which pun ishedRead MoreAntigone, By Sophocles And Anouilh s Versions Of The Modern Version Of Power1259 Words   |  6 Pages Procession of power tends to limit one’s perception and expose its corruption. For instance, Creon’s misogynistic tendencies in Antigone substantiate the idea that abuse of power causes one’s self-immolation. Antigone is a tragedy based on Greek mythology first written by Sophocles, and was later adapted by Jean Anouilh as the modern version. In like manner, the Creon in both versions plays the same antagonist but different characterization. Creon in Sophocles’ version seeks adoptionRead MoreThe Effects Of Poetry On His Noble State1412 Words   |  6 Pagesstrengthens this [inferior] part of the soul and so destroys the rational one†¦Ã¢â‚¬ , and the other, â€Å"an imitative poet puts a bad constitution in the soul of each individual by making images that are far removed from the truth and by gratifying the irrational pa rt†¦Ã¢â‚¬ . In the beginning of Republic X, Socrates refers to three kinds of beds made from the form of bed. The bed made by the divine is the form, the bed built by the carpenter in accordance to the form, and the bed painted by the painter in accordanceRead More Male Reactions to Female Power in Antigone1473 Words   |  6 Pages Western society has a long history of subjugating women to men. Some cite the idea that women are somehow weaker or inferior to men as a reason for the existence of this social dynamic. In Sophocless Antigone and, Dürrenmatts The Visit, however, the female leads show great strength and are even able to threaten the male leads with their power. Creon and Alfred Ills disdainful and oppressive treatment of women stems not from the supposed inferiority of women, but from the theme that man is afraid

028 Develop Positive Relationships with Children Free Essays

Develop positive relationships with children, young people and others involved in their care. 028 Outcome 1: Be able to develop positive relationships with children and young people. A/C1; Positive relationships with children and young people are important as it has a huge effect on the way we can work with them. We will write a custom essay sample on 028 Develop Positive Relationships with Children or any similar topic only for you Order Now When a child is being left into my room in the morning I would go over to greet the child and lift them and make them feel secure. When the child trusts me it helps them to feel comfortable with me, making it easier for them to be separated from their parents. If a child feels emotionally secure they are more likely to participate in play and learning activities unlike a child that sits and cries for their mummy, I would try and bring the child into activities that I know that they enjoy. For example a child in my room was upset and wanted their mummy, I went over to the child and asked her â€Å"would you like to play with the sand. † The child was happy to as it is her favourite activity. Children are less likely to show unwanted behaviour if they have strong relationships as I can recognise and meet their needs. The more a child feels confident talking to me it will help their language to develop quicker. I can plan more accurately as I understand a child’s developmental needs and know their interests. I am able to respond to children more effectively because I can recognise their expressions and emotions. The Principles of building and maintaining relationships are as follows: Communicating effectively is one of the most important aspects of building a relationship. The way we do this depends on the child’s age and stage of development. I also use facial expressions, body language and gestures. Identifying and sorting out conflicts and disagreements fairly to maintain the child/young person’s trust. I indentify the difficulties and help them to find ways to overcome them. I would always be consistent and fair as children rely on this. Consistency means not only keeping behavioural boundaries in place but to make sure the staff are not excitable one day and then quiet and withdrawn the next. Showing respect and courtesy helps the children to copy our actions. For example when I hand out toast at break time I would always say `thank you` when I place it down on their tray. I always speak in a warm and friendly tone, and bend down to their level. Valuing and respecting individuality as each child has different strengths, talents and attitudes; by doing this I show that I am comfortable with their differences. Realising that a child has certain interests and building upon them. For example a child in my group loves Mickey mouse so I brought in a Mickey mouse teddy that helped him go down to sleep easier at sleep time. Keeping promises and honouring commitments are very important as children/young people need to know that can they rely on me. I have an understanding of confidentiality as this is essential about trust and respect. I need to know when it is ok to breach the confidentiality, aware that there may be a threat. I would never pass on anything said in private, do not gossip because once the breach of confidentiality is broken all trust is then lost. A/C2; Observed A/C3; Building relationships with children and young people change according to the age and stage of a child. It is important to think about their needs and interests. How I would respond to a 12 year old boy would be different to a 4 year old. Building relationships with babies is an absolute necessity as babies need to form an attachment or bond with the early years worker to make up for them missing their parents. The term `key person` is what the EYFS use to describe the role of a person who will take care of the baby or child and develop a special relationship with them. Constancy is important; babies can make more than one attachment although they do need to have one strong relationship. It is important to try and encourage children to develop strong relationship with other staff so they feel comfortable and secure if the key person is absent. By holding or cuddling a baby this helps to build strong relationships as the baby feels wanted and reassured. Children under the age of 3 years need strong attachments to one person as the still stress over their parents leaving. This can happen during the settling in period. For example a new boy joined our nursery, at the start mummy stayed with him and he sat on her knee and I slowly introduced myself. Next day mummy had informed me that he loved play dough, so after bending down to the child’s level I asked would he like to help me get the play dough table set up. He followed me, giving mummy time to leave the room. The child was fine until he turned round and noticed mummy had gone. He cried, I offered my hand out and said not to worry as mummy will be back soon. I said to the child about making star shapes to show mummy. Mummy came back in after half an hour. As the week went on, by the end the child came to me, we got his favourite activity and he was distracted. Now he comes into my room without stressing about mummy. I have always enjoyed working with children. I have three children myself and when they were in primary school I would have been a parent helper. I also became a reading partner. I have an understanding of how to approach children, I always smile and I always appear approachable. For instance if a child in my room appears sad, I would go over to where the child is, when I know the time is right I would give eye contact with a smile. I would then ask if there is anything the child would like to do, maybe do a painting or read a book. I always want the children to feel that they are not being excluded. I improve on building my relationships with the children by communicating with the parents. I work two days a week, I have been told a few times by different mummies that their child has missed me, one child in particular kept saying â€Å"go to gems, see weese† the child’s mummy laughs and says that her child continuously tries to say my name â€Å"weese for Louise† I could do more by attending courses on how to understand relationships etc. I can always learn from communicating with my colleagues on how to sort out conflicts. 028 Outcome 2: A/C1; Positive relationships with people involved in the care of children and young people are important as the child’s welfare can be properly monitored, plans for the children`s care and education are more effective and children are given consistent care. Good communication with everyone in the workplace is important; it is also essential to ensure that colleagues work well together and can share our skills/ideas and gain information with each other. Everyone should work together to meet the needs of the children in the setting and find out what their interests are. If colleagues do not have good relationships then it may cause bad feelings and a divide between colleagues. It may be the case that you will all not work well together and are not able to share information, and then the parents and children may suffer. It is important to have good communication with the children in the etting as this ensures you will have a good relationship with them which will help them feel more comfortable when they are settling in or provide reassurance during transitions in their lives as well as supporting them in their play and learning. Good communication is needed to ensure that information is passed on correctly to the families that will benefit the children. Also if the parents see that you have a good relationship with the children it will help them feel more relaxed and helps them to trust us to care for their children. A/C2; Observed How to cite 028 Develop Positive Relationships with Children, Papers

Understanding the Gothic novel can be accomplished by obtaining a familiarity of the Augustan point of view Essay Example For Students

Understanding the Gothic novel can be accomplished by obtaining a familiarity of the Augustan point of view Essay Understanding the Gothic novel can be accomplished by obtaining a familiarity of the Augustan point of view, which helps to develop a reference point for comparing and contrasting the origin of Gothic literature. The thinking that was being questioned by the Gothic novel was Augustanism; and without some understanding of Augustan principles and their role in eighteenth-century thought it is difficult to understand the purposes of the Gothic revival, either in terms of history or in terms of the way in which it offered a new conception of the relations between man, nature and a supreme being. David punter describes the political relationship of the Augustan thinker to the literary world, It is tempting to see in Augustanism the doctrine of a small cultural elite holding on to power and status under increasing pressure, and that pressure as precisely that exerted by the new reading public on the homogeneity of the old literary establishment p 31 Punter. This small number of elite would have included, but not limited to, Fielding, Johnson and especially Pope. However, Fielding and Johnson were slowly stepping outside of the realm of the Augustan limitations. Fielding was undoubtedly Augustan in his beliefs in the stability of social rules and the necessity of a social and psychological compromise, but his mocking attitude towards literary stipulation represents a more moderate Augustan replication. Johnson, on the other hand, was a firm believer in these literary rules and yet it was his Preface to Shakespeare which became the first significant breach in these limitations. Alexander Popes Essay on Man embodies the cosmological, theological and ethical beliefs of the Augustan age; while at the same time exemplifying submission to the rules of literary form. The Augustan approach was intellectual with formal restraint; while relying on reason and traditionalism to create literary works. These stipulations were very controlled by their boundaries and could not be exaggerated with out being broken. The Augustan critical attitude condemned spontaneity for its chaotic qualities, imagination for its objection to reason and liberalism for its opposition to traditionalism. Gothic fiction appears as a specific response to the Age of Reasons order. During the late eighteenth-century, several different kinds of new fiction arose to challenge the Augustan tradition; leading the way was the Gothic novel. An interest in those things, which cannot be understood, for example religion and the soul, results in an overwhelming expansion of what is accepted as art in the literary world. No longer is literature responsible for explanation, but it now has the power to question. Where the classical was obsessed with order, the gothic exemplified chaos; where simple and pure, Gothic was ornate and lustful; where tradition was expected to be followed, the Gothic represented boundless exaggeration; and where reason was respected, imagination took hold. With the evolution of the Gothic novel, for the first time literature was perceived as limitless. In a literary context Gothic is most usually applied to a group of novels written between 1760 and 1820. Characteristics of the Gothic novel are: an emphasis on portraying the terrifying, insistence on archaic settings, a very prominent use of supernatural forces, the presence of highly stereotypical characters and an attempt to perfect the technique of literary suspense. Angela Carter most accurately defines Gothic, in her collection of tales Fireworks: The Gothic tradition grandly ignores the value systems of our institutions, it deals entirely with the profane. Its great themes are incest and cannibalism. Character and events are exaggerated beyond reality to become symbols, ideas and passions. Its style will tend to be ornate, unnatural and thus operate against the perennial human desire to believe the word as fact. Its only humor is black humor. It retains a singular moral function à ¢Ã¢â€š ¬Ã¢â‚¬Å" that of provoking unease p 4 Carter. This description identifies all the defining characteristics of Mathew Lewis The Monk and educates the reader as to what to expect. .ued3537c3e46c4df57d13ff26c81feb5e , .ued3537c3e46c4df57d13ff26c81feb5e .postImageUrl , .ued3537c3e46c4df57d13ff26c81feb5e .centered-text-area { min-height: 80px; position: relative; } .ued3537c3e46c4df57d13ff26c81feb5e , .ued3537c3e46c4df57d13ff26c81feb5e:hover , .ued3537c3e46c4df57d13ff26c81feb5e:visited , .ued3537c3e46c4df57d13ff26c81feb5e:active { border:0!important; } .ued3537c3e46c4df57d13ff26c81feb5e .clearfix:after { content: ""; display: table; clear: both; } .ued3537c3e46c4df57d13ff26c81feb5e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ued3537c3e46c4df57d13ff26c81feb5e:active , .ued3537c3e46c4df57d13ff26c81feb5e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ued3537c3e46c4df57d13ff26c81feb5e .centered-text-area { width: 100%; position: relative ; } .ued3537c3e46c4df57d13ff26c81feb5e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ued3537c3e46c4df57d13ff26c81feb5e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ued3537c3e46c4df57d13ff26c81feb5e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ued3537c3e46c4df57d13ff26c81feb5e:hover .ctaButton { background-color: #34495E!important; } .ued3537c3e46c4df57d13ff26c81feb5e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ued3537c3e46c4df57d13ff26c81feb5e .ued3537c3e46c4df57d13ff26c81feb5e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ued3537c3e46c4df57d13ff26c81feb5e:after { content: ""; display: block; clear: both; } READ: Arthur Miller And Crucible EssayUnlike traditional literature of predecessors like Fielding, Johnson and Pope, Lewis The Monk embodies one of the first steps into the realm of the Gothic novel; presented as a rebellion against the traditional norms. The chilling paradox of the novel is found in Lewis mixing of a rationalistic secular skepticism and insistent employment of the least rationalistic supernatural element: Satan. God does not truly exist but the devil does p63 Greary. Lewis evokes the horror of horrors, a malign cosmos where the devil, not God, is the only authoritative power presented. Robert Geary acknowledges Lewis use of religion as a basis for skepticism in his novel. Instead of focusing on the conventional wrath of God, Lewis implores a wrath of a demonic supernatural force. The basis for this creation lies within a mistrust of the Roman Catholic Church. The Gothic fantasy was not a call for revolt, but a revolution from the values and attitudes of everyday life. In creating a monk who rapes, kills, and sells his soul to the devil, Lewis is enlightening the reader to the moral depravity which man is capable of when he becomes obsessive. This psychological aspect of the novel appeals to the readers mind and self. The differentiation between the mind and self was a relevant topic during the late eighteenth-century. While Ambrosio has all the qualities of a monk, Lewis draws attention to the unnaturalness of his rearing through the church. All that a monk is expected to avoid, is constantly enveloping Ambrosios mind. Lewis illustrates, exceptionally well, the devils control over an individual most unlikely to succumb. Without the psychological analysis, which is available today, Lewis attempts to offer symbolic suggestions as to the cause of the irrationality of his characters. For example, Ambrosias condition is blamed on fault in his background, for he was brought up by monks who terrified his young mind, by placing before him all the horror with which superstition could furnish them P188 Lewis. As evident here, the Gothic novel evoked a new perception of viewing what was considered normalcy, in a way that was for so long buried beneath the rationalism of the Age. The Monk became the authoritative model for the high Gothic novel of unmitigated hideousness and extravagant supernaturalism p7 Barron. Lewis offers the reader a continuing extravaganza of horrid shock while subjecting both his good and evil characters to the powers of the devil. Throughout the novel, the Catholic Church is seen as a thorn in a side of the characters , which allows them to become claustrophobic instruments of isolation and reinforce the errors of social communication, which have been a longstanding convention of the eighteenth-century life. According to Barrons Horror Literature, this depiction of the church as a threat meets the first criteria for a Gothic novel in that Gothic characters must feel enclosed by menacing buildings and by other circumstances of enclosure within the Gothic structureà ¢Ã¢â€š ¬Ã‚ ¦ Claustrophobic confinement is the psychic imperative of all Gothic fiction p8 Barron. Lewis was interested in the particular vicissitudes of the psyche and he made use of social phenomenon and setting to reinforce this depiction. Lewis took the stipulations set before him by the Augustan thinkers of the eighteenth-century and created a novel by representing everything these thinkers opposed; ultimately creating a whole new genre of literary fiction. Fielding and Johnson helped to lay the framework for Lewis by bending the limitations placed on literature. The creation of the Gothic novel can be contributed to Lewis The Monk; he set the standard for which authors still today use for reference in their own Gothic novels. Mathew Lewis is the father of the Gothic revival.