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Cosmic Travel Network group.WHO WE ARE: Since 1998 we are able to consistently provide our customers with quality tours and travel services at excellent prices for hundreds worldwide destinations in Latin America (BRAZIL, ECUADOR, PERU, ARGENTINA, BOLIVIA, CHILE), in Europe (ITALY, SPAIN) and our new lasted destinations (MEXICO, HONDURAS, PANAMA, COSTA RICA & INDIA).WHAT WE DO: We are specializing in cultural, adventure and ecotourism tours and we offer a full choice of ways to travel, from fully escorted tours to custom holidays, so there's a very good chance that whatever you have in mind, we already have experience of designing something along those lines.All our travel packages to South America are fully customizable, our travel specialists will put together an itinerary that fits your specific travel needing and you can always expect a detailed reply within one business day, while in Europe we offer fixed and guaranteed departure dates. Read More...
Clare Hadi ,
Tourism in Spain was developed during the last years of Francisco Franco's dictatorship, when the country became a popular place for summer holidays, especially for tourists from the United Kingdom, France, Germany and Scandinavia. In 2007, Spain became the second most visited country of the world after France. That year, almost 60 million foreign tourists were received, according to the World Tourism Organization, which has its headquarters in Madrid. In 2010, Spain dropped to the fourth most visited country in the world after France, the United States and China with 53 million visitors. Spain's tourism direct industry GDP was ?62.1 billion ($91.8 billion) in 2010 according to the World Travel and Tourism Council, the fifth highest tourism direct industry GDP after the United States with $510.8 billion, Japan $172.5 billion, China $113.4 billion and France $107.6 billion all also World Travel and Tourism Council 2010 figures. It is worth noting that UNWTO measures tourism income differently and in its Tourism Highlights report, 2010 edition, places Spain ($53 billion) second only to US ($93.9 billion) in 2009 for "International Tourism Receipts". The UNWTO's own methodological notes explain the meaning of International Tourism Receipts and may help to explain the differences in the two organisations figures.


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For Immediate Release
Contact: Deborah email@example.com
The Gospel of John: Question By Question Study Guide Available for Christmas
Lakewood, N.J., Dec. 5, 2008—Georgian Court Professor of Religious Studies and Theology Judith Schubert, RSM, Ph.D., has just completed her first book, The Gospel of John: Question by Question. The book, which was released last month by Paulist Press, is the latest in the "Question by Question" Bible study commentaries and is available just in time for Christmas.
"I was very pleased when Paulist Press asked me to write this book," states Dr. Schubert, explaining that each chapter in the book begins with a short introduction of the corresponding chapter in the Bible and is followed by a series of questions. Readers are encouraged to find the answers in the biblical text, with answers also listed in the second half of the book. Each chapter's question-and-answer portion is followed by a conclusion, which is a commentary on the contextual material of that chapter. This unique format engages the reader in thoughtful interaction with the actual biblical text, allowing the reader to become more involved in the powerful messages within the gospel, which will lead to a deeper appreciation of God's gracious love for all.
"All of the questions in the book are actual questions I have gotten from students during lectures that I have given," adds Dr. Schubert.
A member of the Sisters of Mercy, Dr. Schubert teaches courses in both the Hebrew Bible and New Testament, as well as women in the Bible. She received her Ph.D. in Theology (New Testament) from Fordham University. She has also published chapters and articles in biblical and liturgical journals as well as lectured throughout the East Coast and Israel. She is a member of the Catholic Biblical Association of America and a member of the Society of Biblical Literature.
The Gospel of John: Question by Question is a study guide that is intended for both college and parish adult Bible study groups, and provides an interactive, dynamic, and engaging way to approach the Gospel of John. The book is available for purchase online at amazon.com, barnesandnoble.com, and paulistpress.com. For more information, contact the author at 732.987.2354.
Also recently published by Georgian Court University faculty is Recovering American Catholic Inculturation: John England's Jacksonian Populism and Romanticist Adaptation by Dr. Lou F. McNeil, associate professor of theology and religious studies and a Ph.D. holder from the University of St. Michael's College. This book studies a 19th-century Catholic bishop and how he adapted Catholicism to the new American republic.
Founded in 1908 and sponsored by the Sisters of Mercy, Georgian Court University is a comprehensive university with a strong liberal arts core and a special concern for women. A forward-thinking university that supports diversity and academic excellence, Georgian Court serves over 3,000 students of all faiths and backgrounds in a residential Women's College and a coeducational University College with undergraduate and graduate programs. Georgian Court's main campus is located at 900 Lakewood Avenue, Lakewood, N.J., on the picturesque former George Jay Gould estate, now named a National Historic Landmark. Georgian Court also offers classes at its site at 90 Woodbridge Center Drive in Woodbridge, at Coastal Communiversity in Wall, and at Cumberland County College in Vineland.
# # #
Tuesday, Aug 4Graduate Information Sessions
Wednesday, Aug 12Summer Visit Days
Monday – Friday and selected Saturdays throughout the year
Campus Tours

subset: commoncrawl


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Lodging close to Downtown Whitby are listed below in the order of their distance (closest first). Browse our hotels/motels to find accommodations near Downtown Whitby (Whitby ON) for your leisure or business trips.
We show the best lodging close to Downtown Whitby so you can review the discounted Whitby ON hotels & motels below and book your ideal hotel. Need a room block for a group? Request a Whitby ON group hotel deal
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Civil War Walking Tour – April 24
As a part of the 145th anniversary of the end of the Civil War, Hillsborough will be partnering with the Chapel Hill Preservation Society to host its own commemorative event on April 24th. There will be two available tours, one starting at 12pm and one starting at 2pm. The tours will last approximately one hour. Tours begin at the Dickson House (Hillsborough Visitor's Center), at 150 E. King St in Hillsborough. For more information please contact the Orange County Historical Museum at 919-732-2201.
The cost for this event is $5.00 per person.
This is just one event scheduled for this day. The Chapel Hill Preservation Society has a whole day of events scheduled for their Civil War Living History Day, including reenactments, videos, fashion shows, and music concerts. The event will conclude with a Lantern Tour through Chapel Hill 1865.
Tickets for the Lantern Tour are $15 per person and reservations are required. Tours begin at 7 pm and 8pm. Tours led by lanterns and comfortable shoes recommended. Contact the Preservation Society to make your reservations today at 942-7818.


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The financial outlook for institutes of higher education remains mixed as revenue remains stagnant but costs continue to rise. There are certainly short-term obstacles, but a college education remains a necessity for many jobs. However, that did not prevent Moody's Investors Service, a leading credit rating service, from downgrading the education sector as a whole. It seems obvious that the financial stability of universities and colleges will not improve significantly until the economy improves, or until they find ways to increase revenue or reduce costs without negatively affecting their reputation.
Enrollment and Revenue
In order to maintain steady enrollment numbers, most universities and colleges have had to avoid increasing tuition, which has limited revenue growth. Other sources of income have also taken hits due to poor economic conditions.
Public universities, which used to be able to count on about 75% of their revenue from their states, are seeing that portion drop to only account for about half of their income. And in private institutions, that rely largely on donations and returns on financial investments, there is even greater instability threatening these sources. One positive is a recent reduction in student loan rates, making it easier for students to afford to go to college.
Many institutions increased spending in the pre-recession era, which they are now struggling to reign in as revenue has flat-lined. However, tenured faculty, building maintenance, and ongoing construction projects are not costs that can quickly be reduced.
The shift from tenured faculty to more part-time adjunct faculty members is one way to reduce costs and increase the ability to adjust to fluctuating enrollment, but this can also lead to a drop in quality of education over the long-term. And incomplete construction projects or unmaintained buildings lead to a negative perception of the university in the eyes of potential enrollees, which can lead to dwindling tuition revenue.
Future Trends
Perhaps the best news for this sector lies in the lack of an alternative to a college degree. For careers most people want, a degree is a requirement, so there will be a fairly steady demand. Elite universities seem to be in a good position, as their reputation will keep them more competitive as cost-saving measures are implemented.
A new trend involves more colleges looking into online education as an alternative since overhead is drastically reduced, class sizes can be larger, and can dynamic adapt to the needs of their students. Another advantage is the ability to reach people for which a traditional college experience isn't an option.
Stability from Necessity
While individual institutes of higher education remain somewhat unstable, the sector remains a necessity, as there is no substitute for a college degree. What can be expected is a thinning of the heard, as institutes that lack the resources and flexibility to withstand the current difficult economic times begin to fail. However, it is through such adversity that institutions are able to become stronger.
About the Author
Karen works as the Online Ambassador for Liberty University Online. During the evening hours her interests lie in freelance writing, the occasional road trip for a Krystal slider, and finding opportunities to better her vegetable and fruit garden.
[Photo: thisisnthappiness]


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Activity from 2012 June (page 10)
Froobi Daily Deals: Sunbeam Hot-Iron Locking Storage Case – 2 Choices
Posted by Team Swagbucks on Fri, June 15th, 2012 at 9:00 am
Made of durable heat-resistant plastic, this hot-iron storage case offers a safe method for storing any full-size iron while it's still hot–no more needing to leave it out to cool first before putting it away. The unit can be mounted on the wall or placed on a shelf, plus it comes with an ergonomic handle for comfortable carrying. The ergonomic handle doubles as a locking mechanism to keep everyone and everything away from the heat. In addition, the case provides a separate compartment for holding up to a 12-foot power cord and a water-cup accessory. To use, simply turn off and unplug the iron; pull up on the latch to open the lid; insert the iron nose first, resting the iron on the silicone pads; neatly fold the cord into the cord-storage area; then close the lid and snap the latch shut. The hot-iron storage case measures approximately 16 by 7 by 7 inches and carries a one-year limited warranty. Only at froobi.comList Price: $34.99 Froobi Price: $12.99 You Save: 63% Rebate:20 Swag Bucks Get it Now at Froobi.com
Fresh Water pearls not only look great but they are a bargain! Today's earrings are not your average pearl stud earrings. These earrings bring unique personality to your everyday wardrobe with their pretty green hue and are perfect to add some color to your outfit, or to give to that special person in your life. Get or give the gift of unique elegance with today's deal. Available at Froobi.comList Price: $59 Froobi Price: $3.99 You Save: 94% Rebate: 15 Swag Bucks Get it Now at Froobi.com
Mega Swag Bucks Day Has Gone To The Dogs
Posted by Team Swagbucks on Fri, June 15th, 2012 at 7:00 amWe may have started this week with a woof, but we're ending it with a bang: Mega Swag Bucks Day! If you're new to these parts, it's a day of big wins and big bucks – Team Swagbucks is giving away more than 1,000,000 Swag Bucks in TODAY. Today you have a chance of winning ... Read More »
Connect To Facebook Through Swagbucks
Posted by Team Swagbucks on Thu, June 14th, 2012 at 5:00 pmDid you know that you can log in to Swagbucks using your Facebook account? To do this, first logout of your account on Swagbucks. You will then see the log in screen. Click "Join with Facebook:" From here, a window will pop up. Click on "Log In With Facebook:" Once you select Log In, you ... Read More »
Golden Flowers
Posted by Team Swagbucks on Thu, June 14th, 2012 at 3:00 pmDo you have a 2012 graduate in your life that you want to congratulate? Do you want to show him/her how proud you are? Make it count by adding a Reva Expanding Flower Vase to your flower bouquet delivery. Reva Vase is the amazing expandable vase. Just fill it up half way with water and ... Read More »
Gophers On The Move!
Posted by Team Swagbucks on Thu, June 14th, 2012 at 2:00 pmThe relationship between Swagbucks and Big Fish Games is seeming more and more like it was destined to be. They given us special offers for you, provided us with Fairway Solitaire for Swagbucks Games, and now they've partnered with us to give away a new iPad HD! You may not have known this, but Fairway ... Read More »
Twitter Trivia Is Around The Bend
Posted by Team Swagbucks on Thu, June 14th, 2012 at 1:00 pmThe Dads and Grads have settled their differences, so now it's time to hook you up in 140 characters or less. It's time for you to settle in for Twitter Trivia, the online quiz game where I give you the questions, you give me the answers and TSG gives you the Swag Bucks! Step right ... Read More »
DADness Final – Who Will Win?
Posted by Team Swagbucks on Thu, June 14th, 2012 at 11:00 amYesterday was the semi-finals of DADness – the competition to find the best TV/Movie dad of all time. We had Ray Barone from Everybody Loves Raymond facing Tim Taylor from Home Improvement and George Banks from Father of the Bride facing Shrek from Shrek. Only two dads could continue on to the final round. Let's ... Read More »
Froobi Daily Deals: Simple Mobile Activation Kit including Sim Card
Posted by Team Swagbucks on Thu, June 14th, 2012 at 9:00 amHave a phone that uses a SIM card and is Unlocked? Join the SIM revolution and start saving money now! Why pay $12, or more with a competitor or even worse pay $35 for a replacement SIM card only to keep paying a ridiculously higher cell phone bill? With today's deal you will be well ... Read More »
Happy Flag Day
Posted by Team Swagbucks on Thu, June 14th, 2012 at 7:00 amOn June 14th, 1777, the flag was adopted by the United States of America. Today marks the 235th anniversary of this momentous occasion in our country's history. The adoption of the flag was an outcome of the resolution of the Second Continental Congress. Not only are we celebrating the adoption of the flag, but we ... Read More »
Dance Instruction Wednesday – Dance Your Way To 250 Swag Bucks
Posted by Team Swagbucks on Wed, June 13th, 2012 at 5:00 pmFor this week's Dance Instruction Wednesday, we're going to do something a little bit different. I'm going to show you an instructional dance video on the Tango. Watch the video carefully, and then try it out for yourself. In this dance, you will need a dancing partner. Once you have mastered the steps, take a ... Read More »
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Cleveland-based Hinkley Lighting is driven by a passion to combine design and function to create exceptional lighting solutions. Family-owned Hinkley began as a traditional lantern company in 1922, and, still today, they produce top quality outdoor lighting. Hinkley Lighting has also expanded to include a full range of interior lighting solutions, including chandeliers, sconces, pendants and vanity lights.
The Meridian Linear Suspension is available with the following:
- 4 Faceted Clear outer glass shades
- 4 Etched White inner glass shades
- Metal frame
- Brushed Nickel finish
- 5" diameter ceiling canopy
- One stem
- 120" lead wire
- UL Listed
- Four 60 Watt 120 Volt Type G9 Halogen lamps (included).
- Fixture: Height 20", Width 44"
- Canopy: Diameter 5"
Manufacturer IDs: view
Need help with some of our terminology? Check out Lumens' Lighting & Design Glossary.
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60W 120V T4 G9 Halogen Clear BulbBy Bulbrite$8.99{boxId:"compareuu304210", id:"uu304210"} See Comparison


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With nine miles of pristine shoreline, numerous recreational opportunities, and the best selection of real estate in Tennessee, Fairvue Plantation offers fine living in a world-class resort setting. Homebuyers looking for premier waterfront communities located in the southeastern regions of the country will be pleasantly surprised when they discover that this verdant corner in Gallatin exceeds all their expectations, with choice Fairvue Plantation homes for sale that offer privacy, quality construction, and well-maintained natural surroundings.
Fairvue Plantation has two separate areas roughly divided by Old Hickory Lake: Fairvue and Foxland. Both these areas have many beautifully-designed gated neighborhoods, each having their own distinct style, along with an excellent selection of Fairvue Plantation homes for sale.
Residential options include single-family homes, elegant villas, sprawling estate properties, luxury custom homes, and condominiums, with many providing scenic views of the lake or fairway. These homes have been carefully constructed by Fairvue Plantation's own Builders Group that follows and maintains a strict standard in building fine custom residences.
A highlight and main attraction of Fairvue Plantation is golf, provided by the Fairvue Plantation Country Club. This exclusive, members-only club has two signature golf courses--the Lakes Course and Foxland Course, both designed by golf course architect Bill Bergin. Named as one of the best new private courses in the country by Golfweek Magazine, the Foxland Course was also the venue for the U.S. Senior Open qualifying events and the State Amateur Championships.
If you need more information and details on Fairvue Plantation homes for sale or other Gallatin homes for sale, give the Fairvue Plantation sales team a call today.


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Use the BF2S API to locate player profiles and leaderboard details for those who play the game, Battlefield 2, and socialize on the BF2S website. When you get player profiles using the API, nearly 100% of what you see on player profiles at the main BF2S site is returned. When you get leaderboard details, as many as 64 players with their stats can be returned. The leaderboard details do not have as much detail as the main site, but they do have the essentials.
Source Code
Sorry, no source code for this API.
Sorry, no resources found for this API.
Developers (0)
Comments (0)
Followers (9)
Sorry, no mashups for this API.


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Comment Quoting an American about a European Experiment? (Score 1, Insightful) 269 269
Foldit Player May Have Created a Useful Protein 144 144
Comment I've done this! (Score 1) 1359 1359
I left the UK and moved to Germany, about 18 months ago. I barely spoke a word of German when I arrived. Admittedly the main reason was that my fiancee is German, but I'd been uncomfortable about the same issues you mention regarding the UK and the direction it's heading. It's the best thing I ever did.
I learned German for 4 months, then started looking for work. I had an MSc in IT, but no IT experience. I got a job within 1 month of looking, the firm speaks German, but most of the developers speak good English. At first I only spoke English at work, but now I speak German where I can, English the rest of the time
I have to say that Germany is FAR better than the UK on most of these issues. Whilst they do have ID cards here, they're not electronic and probably only exist as a hangover from being an occupied state after WWII (the allies required it).
My advice would be take the plunge! Don't worry about language too much within the EU if you're going for IT jobs (maybe apart from France, but that could be just reputation).
Comment ITER (Score 2, Interesting) 599 599
ITER is the world's best chance of obtaining almost infinite amounts of clean energy. Most of the recent press about the National Ignition Facility has ignored one key fact - the NIF is about creating fusion explosions to model bombs. Sure, it can also be used for fusion power research, but that's not the primary reason it received it's funding. ITER is about developing commercial fusion using a tokamak.
Also, the way the US cancelled all funding for ITER for 2008 was pretty disgusting. If a country becomes a partner in such large science projects, they need to stick with it, rather than screwing everyone around
Comment I develop wireless networks for a living (Score 5, Insightful) 496 496
Comment Rushed submission (Score 1) 1 1
Submission + - LOTR fan film: The Hunt for Gollum-> 1 1
Link to Original Source
Comment Re:What, no atomic decomposition? (Score 1) 534 534
Comment Re:What, no atomic decomposition? (Score 1) 534 534
Submission + - Office 2003SP3: Old file formats, now unavailable! 3 3
Naturally, they did this by default, and then documented a mind-bogglingly complex workaround (KB 938810) rather than providing a user interface for adjusting it, or even a set of awkward "Do you really want to do this?" dialog boxes to click through. And, of course, because these are, after all, old file formats, many users will encounter the problem only months or years after the software change, while groping around in dusty and now-inaccessible archives.
One of the better aspects of Office is its extensive compatibility mechanisms for old file formats. At least the support isn't completely gone—it's just really hard to use. Security is important, but there are better ways to fulfill this goal.
This was also covered by the Windows Secrets newsletter, although I can't find a story URL for it."
Submission + - Convincing the Military to Embrace Open Source->
Link to Original Source
Submission + - Canada's Thought Police in Action->
Link to Original Source
Submission + - Fox stealing photo content off the blogs.
Earlier this afternoon I was in our kitchen doing dishes, minding my own business. Jamie was in the living room, watching some NFL football.
It was quiet.
Too quiet.
Suddenly, Jamie called to me from the other room, claiming I had to come see something. When I entered the room, he unpaused the broadcast he had been watching (thanks, TiVo!), and immediately I saw the image of an adorable pug, dressed in festive Santa gear, pop up at the bottom of the screen beside FOX's Happy Holiday's ticker. I vaguely remember Jamie saying something to me to the effect of, "Gee, that dog looks a lot like Truman, doesn't it?"
Submission + - Writers Guild of America and the Open Source Model->
Are consumers finally going to see the internet used to distribute movie content in a sensible way?""It's a whole new model to bring content directly to the masses," said screenwriter Aaron Mendelsohn. "We're gathering together a team of A-list TV and film writers, along with their A-list equivalent from Silicon Valley."
Link to Original Source


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human rights attorney, San Francisco, CA
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Synopsis of Project
Section One: Theoretical Background and Methodology
Hermeneutics and Heuristics
I. Computers and Culture
II. Hypertext Theory
III. Myth Criticism
IV. The Terministic Screen
Section Two: Hypertext by Design
I. The Web Site as an Alternative Organizing Space
II. Principles of Navigation and Design
III. Theme
IV. Aspects of Design
Section Three: Post Production Report
I. Organizing the Web Site: Alternating Spaces
II. Navigation and Design
III. Variations on Theme
IV. Design: Text and analysis
Bibliography and Acknowledgements
A. ANTHROPOLOGY: Myth and Culture
Translation becomes the focus for scholars such as Scottish anthropologist Sir James Frazer in The Golden Bough, and more specifically in his translation of Apollodorus: The Library. Frazers Apollodorus (1921) meticulously annotates the variety of ancient Greek and Roman sources that duplicate and contradict stories while incorporating a literal translation of the ancient Greek. The interpretive level at which Frazer shows his modern bias based on his experience as an anthropologist and linguist filters his reading. In an attempt to overcome such bias, Turner (1976) establishes a comprehensive anthropological study of rituals in the context of their social or cultural origins. Although we cannot know exactly how ancient Greeks participated in rituals and ceremonies, by looking at multiple artifacts that surround or present myths, we can learn a great deal from a study which looks at the differences between cultural contexts as well as similarities. Because attitude broaches new levels of complications, many scholars turn from interpretive to structural approaches to myth criticism.
B. STRUCTURE: Image and Text
Northrop Frye (1957), in The Anatomy of Criticism, establishes a comprehensive and systematic analysis of content and form, plot structure, and character definition of myth. The structural principles of literature," he states, "[are] derived from archetypal and anagogic criticism, the only kinds that assume a larger context of literature as a whole (p. 123). Hence the structural principles of literature are as closely related to mythology and comparative religion as those of painting are to geometry. He goes on to establish a grammar of literary archetypes based on biblical and classical symbols and identifies cyclical movements in poetry. Myth is literary on the one hand, natural on the other, and in between lies the whole area of romance, according to Frye. The central principle of displacement is that what can be metaphorically identified in myth, in romance can be only linked by some form of simile: analogy, significant association, incidental accompanying imagery and the like. Fryes analysis attempts to define myth, especially the narrative form attributed to myth, as the locus of desire. This draws further similarities to Joyces work on hypertext theory, which locates hypertext in a realm of desire. While Joyces term desire may not be synonymous with Fryes term romance, a connection between their approaches to study emerges at the symbolic level.
Grimes (1976), in Symbol and Conquest, discusses symbolic representations of myth that reflect various cultural components. Like the examples of grain or crops that represent major sources of food and agriculture, or mother-and-child images that stand in for human relationship, a symbolic study of myth and ritual has a social function based on the performative. Mythic elements are enacted through rituals and drama, which enforces social conventions. These ceremonies reinforce the cultural practices behind the myth as well as the myth structure itself. To study the myth relations would be to study human relations, to get at the psychology behind basic human beliefs.
Lévi-Strauss, in The Structural Study of Myth (1963), critiques such an as being psychologically oriented although not in a position to keep up with the progress of psychological research. He considers such attempt naïve, succeeding only in reducing motive in myth to inarticulate emotional drives, (p.809). Instead, he argues for a structural method of organizing thematic elements of all mythology (mythemes) in order to strip away the layers of meaning involved in each myth. Lévi-Strauss sees inconsistencies in myth as a dialectic that occurs between layers of myth. The myth itself will provide elements that mediate the dialectical process, even a chain of mediators that not only help us interpret the myth, but also help us to universally organize daily experience (p.819). Thus, Lévi-Strauss offers a way of reading mythology while at the same time defining its role in our lives. Furthermore, myth is an intermediary entity between a statistical aggregate of molecules and the molecule structure itself (p. 819). The analogy of the molecule can readily apply to hypertext, but in terms that are more specific. A web site is an intermediary entity between a system of hardware and software and machinery all combined into the structure of human and computer relations.
C. LITERARY: Textual and Performative
While they have certain structural elements that make up narrative, myths are all products of plural authorship. Cixous, in The Laugh of the Medusa (1975), challenges women to write their bodies, to be multi-vocal. If women, especially scholars, are to develop a uniquely feminine way of writing then they must explore new forms of expression. Hypertext shows how ideas can exist simultaneously while offering the space to organize them in a linear way. The architecture of a web site involves precise linear thinking and organization, even as navigation places more responsibility on the part of the audience to engage with the text. As with hypertext theory, the interpretation of myth benefits from a post-structural approach that resists reading mythology as a cohesive body of knowledge.
An evolution toward the aesthetic approach to myth shows inherent similarities between myth and hypertext. Critics such as Bryson, Barkan and Bal all recommend models for reading myth that recognize its origins. The artifacts that, when combined, make up the substance of a particular myth, must be looked at as fragments pulled from an unknowable context. By placing a fragment into knowable contexts, we can know the text only in and of itself. Since we cannot know from what context the original derives, our focus turns to examining what the myth can tell us about ourselves.
In Brysons (1995) Philostratus and the Imaginary Museum he draws upon a mnemonic device the memory palace or a way of constructing a narrative that moves sequentially through the rooms of the text, assigning specific features of characters to each room in order to organize and divide information into more familiar areas. Paintings can also be read as memory palaces by dividing the canvas into areas that represent functional spaces. This model of interpretation relies on spatial metaphors, which attempt to locate myth with a specific context.
On the other hand, Barkan (1986) presents his textual analyses of myth as largely divorced from questions of historical evolution in The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism. In Chapter One, Barkan views Ovid and the myths depicted in the Metamorphosis as metaphors for the way the universe is constructed, and metamorphosis [as] the vehicle whereby individuals are transported among the layers [of the text], (p.2). The stories create a tapestry that requires the fitting together of many individual stitches, the whole of which is greater that the sum of its parts. Readers make texts more meaningful when they bring with them a chain of associations from historical to local contexts.
Both Brysons and Barkans models overlook the reliance on visual information in the study of myth. A question emerges: how can we read images of mythological sequences? In Narratology, Bal (1985) argues that an image can be read through a narrative sequence based on cultural signifiers and a cultural understanding of how a story progresses. Images can be characterized as non-linguistic sign systems that carry meaning on their own. The field of semiotics systematically searches out meaning for cultural codes and symbols. In Narratology, Bal develops a method of looking at the narrative of images on three levels: 1) Fabula, the structural elements or characteristics unique to the narrative; 2) Story, the narrative's structure, focus and point of view; and 3) Text, the actual language used to describe the relationships between narrative elements. Like many critics of myth, hypertext theorists tend to reflect on textual analysis of their objects of study. Bals connection between visuality and narrative takes into consideration a larger interpretive field.
Greek mythological stories are interconnected within a complex network with little hierarchical organization and no recognizable center. They consist of a cloud of stories: they enter into and depart from each other; the contact points of story with story include objects, characters, places, and plot-structures. Each of these elements runs parallel, if not perpendicular, to other stories. Locally, a myth might also make subtle allusions to other myths. Different 'media' present the content of what we call Greek myth: song and poem; sculpture and mosaic; pottery and urn. The Medusa myth varies dramatically with each depiction. The text, even before layers of interpretation begin to accumulate, is radically openit cannot be closed, by virtue of the properties of the myth-system. Beyond the classical representations of mythology, numerous artistic and literary depictions of myth abound. Myth is a lens through which we can read past and present, even future versions of culture and humanity.
Section Three: POST PRODUCTION REPORT
Within the "Acknowledgements" page, I have also included a link to a
Statement of Fair Use, to encourage readers to practice conscientious behavior
with regard to crediting artists and web developers with the work that
they have done.
MIRROR or "the power of reflection"
· Image: Midouse photograph by Pierre et Gilles.
· Texts: Lacan, Silverman, Plath, Rossetti
This first thread updates the Medusa myth with one of its most contemporary
readings, a photo by fashion photographers "Pierre et Gilles" (1990).
The question addressed here is how new media expresses old content; how
Medusa, once a monster, becomes established as a femme fatale (illustrated
by juxtapositions of poet Sylvia Plath and the contemporary artist De Genevieve).
Next, the tension between gender roles is played out through "looking"
in a variety of ways through Lacanian theory. The mirror is also
an instructional device, dramatized in the dialogue between Dante Gabriel
Rossetti's poem "Aspecta Medusa," and Edward Burne-Jones' painting The
Baleful Head, where Perseus actually shows Andromeda the head of Medusa,
reflected in a well.
Text from "mirror" main page:
The Mirror in the Medusa myth is an account of the story through various lenses: the photographer's vision to the eye of critical feminist film criticism, specifically with regard to Lacan's mirror stage. The image to the left: Midouse shows a Medusa that is beautiful and seductive, unlike classical Greek counterpart whose power came from ugliness. This modern Medusa connotes the image of the Femme Fatale, a character who, in cinematic terms, becomes the receptacle of the male anxiety that drives the narrative plot of the film. Such a reading of the Medusa myth would attribute Perseus, not with heroic courage to face an evil demon, but with the desire to master the body of another. In his quest to redeem his mother's honor, Perseus is led into the dark cave, to look upon the monster who represents the culmination of his own fears of women. Medusa portrayed as a beautiful seductress rewrites the threat of the stone making enemy, and shows how looking at someone can be harmful. Perseus reduces her to a reflection--her humanity becomes a mere flicker of light on glass. In the end, it is not flesh the sword tears, but an image of Perseus own projected desire. His gaze confirms the subjects identity, but it is not responsible for the form which that identity assumes; it is merely the imaginary apparatus through which light is projected--a camera.
Key to links:
"Lacan": links to mirror1a.html
The Medusa myth relates to theories that arise out of a psychoanalytic tradition in the area of feminist film criticism. The image: Midouse shows a Medusa that is beautiful and seductive. She connotes the image of the Femme Fatale, a character who, classically, becomes the receptacle of the male anxiety that drives the narrative plot of the film. Such a reading of the Medusa myth would attribute Perseus, not with heroic courage, but with a need to overcome a nagging doubt. Perhaps it is through fighting to redeem his mothers honor he is led into the cave to face his fears, to look upon the monster that is the culmination of his own fears of women. If Medusa turns out to be a beautiful seductress, he must protect himself from looking at her directly. Projected through a shield of vanity, he sees only the reflection of her essence and can distance himself from her, thus, reducing her humanity to a mere flicker of light on glass. It is not flesh his sword tears, but an image of Perseus own projected desire.
"Lacan's mirror stage describes a moment of psychological development of the child when, as an infant, he assumes that the object he looks upon (usually the face of the mother) is a reflection of the self .
Medusa's power to turn man to stone is an obvious danger, but the female gaze that masquerades as beauty is perhaps an even more dangerous phenomenon. The stony look is replaced by the power of seduction "
Lacan links to lacan.com
Mask links to mask1.html
Anxiety links to laugh3.html
"Midouse": links to mirror1b.html
Details the photograph, its model, genre and emblem of Medusa as an emblem of the avant-garde. Links included: photographers, model and gallery.
"femme fatale": links to mirror2.html
Plath's poem gives a scathing rendition of her vision of Medusa. It is paired with an image (by contemporary artist De Genevieve) of a lonely monster looking over a garden of stone suitors/murderers. The image is a fitting match to the content of the poem because of its emphasis on the mournful face of Medusa. A link to entire text of the poem is included.
"look upon the monsters" links to mirror3.html
This link pairs Rossetti's poem Aspecta Medusa with Burne-Jones' portrait of The Baleful Head:
Andromeda, by Perseus saved and wed,
Hankered each day to see the Gorgon's head
"looking" links to mirror1c.html
Medusa as an emblem for the concerns of Feminist Film critic Kaja Silverman (1989) and her analysis of Lacan's concept of the "mirror stage". The concept of the mirror is critical to the Medusa myth especially concerning a web site because in the myth the mirror is the bit of technology that makes Perseus quest possible. He must look at Medusa without using his eyes. Computer pixels complicate this relationship because the screen (projection) does not hold the projection from one point of light, but is itself several points of light.
An extrapolation of Silvermans (1989) main arguments enlighten a feminist reading of Medusa from the film critic's point of view. Silverman points out that "masks" also take the form of: photos, ads, arts manikins, dolls, or anything that can be played with. This idea of play gets at how man, in effect, knows how to play with the mask as that beyond which is the gaze. The screen is here the locus of mediation. (through this subjects are constituted and differentiated)
"camera" links to mirror4.html
Contemporary photographic images of Medusa by Frank Baresel-Bofinger. Details include "blood" made of ribbons running down the model's neck.
STONE or "labyrinth through history"
· Image: Mosaic de la Medusa, Museu Arqueològic de Tarragona
· Texts from: Ovid, Apollodorus (Frazer and Hard)
The mosaic is a collection of stones arranged to reflect an image; it
is an early model for the pixel, the bits of light reflected back on the
screen. Stone, or cultivated rock, is also important to the myth
to describe the threat Medusa poses. Her gaze turns men to stone,
and whether this notion is taken literally or figuratively, her power is
permanent. Her fate, too, is "written in stone" as the historical
Medusa appears again and again as an art object remembered in stone.
Text from "Stone" title page:
Stone: [1] cultivated or polished rock; [2] to castrate; [3] to polish or sharpen with a stone.
This thread addresses the way history is constructed, as if it were written in stone. Since mythology is fractal by nature, the mosaic illustrates a more accurate picture of how history is constructed. Many small bits of information are combined to create a whole and comprehensive picture. Still, many traditions seek to maintain the rigid structure of history as if we could freeze time the way Medusa freezes her victims. Milton (1634), in "Comus," explains how Medusa's "rigid looks of chaste austerity...wherewith she freezed her foes to congealed stone." Ironically, Medusa's severed head becomes the emblem that represents her as if she too is frozen in time. We forget her life before when she was a beautiful mortal. Instead, she becomes a sorrowful subject of loss. The loss of Medusa's life is Athena's gain as the severed head is placed on the shield, thus co-opting Medusa's power for her own. According to Hard (1997), some "say that Medusa lost her head because of Athene -- for they say that the Gorgon had claimed to rival the goddess in beauty. Medusa is further depicted in stone in a variety of architectural and ornamental ways.
Key to links:
"Traditions" links to Stone1aa.html
This page organizes links to Ovid, Frazer and Hard for readers who want the fullest versions of the myth from primary sources.
"Sorrowful Subject" links to Stone2.html
Berman and Ovid: Before we have Medusa, there is the origin of Perseus before he came to slay her. Like Atlas, Berman's depiction of Medusa shows a creature who has been reduced to stone. Ironically, Medusa herself seems to be made of stone:
At that, he turned his back to Atlas--and
Held up Medusa's head with his left hand.
Great Atlas now became a mountain-mass
"Shield": links to stone3.html
With a stone shield of Medusa paired with following text:
One of the details often left out of the stories is that Perseus was wearing a cap that made him invisible. According to Ovid Perseus also attacked in the night while the Gorgons slept. Also, he reports that the Gorgons had heads twined about with the scales of dragons, and great tusks like swine's, and brazen hands, and golden wings, by which they flew; and they turned stone such as beheld them. Meaning that they could turn themselves into stone.
"Architecture and Ornamentation": links to stone4.html
This page riffs on the ways stone is uses in the construction of historical artifacts
A. Gargoyle: grotesque human or animal figure, and projected from a gutter to carry rainwater clear of a wall. [Old French: from garoguille, gargoul, "throat"].
B. Stone Garden (disco): In the 21st century the spirit of the Gorgon goddess is celebrated with dancing in this outdoor disco.
C. Ovid on Ornamentation: Jove's daughter turned aside chaste eyes: the goddess hid her face behind her aegis -- but she made Medusa pay: she changed that Gorgon's hair to horrid snakes. To this day, Minerva, to dismay And terrify her foes, wears on her breast The very snakes that she herself had set-- As punishment--upon Medusa's head.
SHIELD or "Casting Images"
· Image: Caravaggio's The Head of Medusa
· Text: Ovid, Milton, sacred source.com
Caravaggio's depiction of Medusa is of a shield, most likely Athenas, which she would have used to turn enemies to stone with the same power Medusa had while she was alive. The general them of this link is co-optation of power.
Text from "Shield" title page:
(Excerpt from Ovid):
And terrify her foes, wears on her breast
The very snakes that she herself had set --
As punishment -- upon Medusa's head.
Caravaggio's Medusa is perhaps the most recognizable depictions of the head of Medusa. In the painting, the severed head is fused onto a bronze shield, most likely belonging to Athena. Caravaggios Medusa is also a self-portrait, Caravaggio himself projected onto a shield, a self-protective presentation. The painting suggests Perseus power over Medusa, the power she had turned against others, is like the painter's power over the viewer. Conventionally the self-portrait is a self-reflection, a projection of identity onto the viewer. The painting represents the dangers of looking in many ways just as Medusa represents a role that is bound up with looking: she kills by looking, she is killed after seeing her own reflection, that reflection as a weapon. In this sense Medusa represents a captured subject, the severed head, which had the power of turning into stone all who looked upon it but that no longer can see for itself. Capturing that power is analogous to the conquering of nations, one set of values replaced by another, the identifying art objects reinterpreted. Perseus uses Medusa's head against his enemies, Caravaggio uses this power to conquer his own self-image, an image that is then projected onto the audience.
Key to links:
"Ovid" links to stone1a.html for a fuller version of Ovid's text.
"Bronze shield" links to shield2.html. The image here is paired with Milton (Oxford Milton, 1990), "Comus:"
"What thus snaky-headed Gorgon-shield
That wise Minerva wore, unconquered virgin,
Wherewith she freezed her foes to congealed stone,
But rigid looks of chaste austerity,
And noble grace that dashed brute violence
With sudden adoration and blank awe!"
This bronze shield resembles Caravaggio's Medusa, but is this the face of Medusa, or how Perseus saw himself reflected back?
"conquering of nations" links to shield3.html and sacred source.com.
Before there was Medusa, there was the Gorgon Goddess of Righteous Wrath. Unlike Caravaggios Medusa, this statue is the fully embodied form of a warrior goddess, unconquered and armed for battle, she and her lion guard the temple at Coru. She represents the wisdom of the Anatolian sun goddess, a Crone, or the dark destroyer: Egyptian goddess Nieth. This strong female power is also represented by the African goddess An-Ath, or an allomorph of Kali, or a Libyan serpent goddess of the Amazons. The Gorgon represents the primitive cult of the goddess conquered by the Greeks and replaced by Athena, goddess of war and wisdom.
"Embodied" links to laugh2.html
LAUGH or "languages of expression"
· Image: The Head of Medusa by Peter Paul Rubens
· Texts from: Hesiod, Ovid, Cixous, Freud, Clayton
Text from "Laugh" main page:
Medusa's beauty is described in Mandelbaum (1993) Ovid's Metamorphoses:
Medusa was astonishingly fair;
She was desired and contended for--
So many jealous suitors hoped to win her.
Her form was graced by many splendors, yet
There was no other beauty she possessed
That could surpass the splendor of her hair--
Medusa's beautiful flowing hair "strewn with flowers" is replaced by deadly snakes. In Rubens' depiction of the head of Medusa some of her original hair makes its way into the painting. Her gaze is haunted, but looks away, perhaps at Perseus' shadow before he picks up her head to be used as a weapon itself. Rubens' interpretation tells the story by what the painting leaves out: there is no Perseus, no Pegasus springing forth from the blood of her head, no body at all. The life force that surrounds her decapitated head makes it clear that, although decapitated, her power lives on.
For the Renaissance viewer, the decapitated head might represent the triumph of the mind or intellect over evil and impiety, especially of the body. Since the story engages the nature of vision, the viewer is also implicated in any reading. Rubens' painting is an invitation to read the Head of Medusa from a variety of perspectives. She is the rich subject of art because of all the nuances to her story. A feminist reading finds Medusa an emblem of male power over female threat. Going one level deeper, the psychological implications and violence of the Medusa myth tells us about ourselves. Medusa is a literary figure, subject to a multitude of readings, including readings that push the boundaries of technology.
Key to links:
"Ovid": Links to stone1a.html for a fuller version of Ovid on Medusa.
"Art": Links to laugh1a.html
Percy Shelly (1819): "On the Medusa of Leonardo da Vinci in the Florentine
Gallery" assembled by Mary Shelly in her edition of her husband's Posthumous
Poems (1824). Original poem and image. "ON THE MEDUSA OF LEONARDO
"Feminist": Links to laugh2.html
Synopsis of Hélène Cixous' essay The Laugh of the Medusa, juxtaposed with the image "Gorgon Goddess of Righteous Path," a laughing Medusa which predates Hellenic versions of the myth, and which Cixous evokes in her essay. This image represents the laughing medusa Cixous (1975) evokes in "The Laugh of the Medusa."
Cixous (1975) calls women to rethink the traditions by which they are defined sexually. These traditions are rooted in exclusionary practices of patriarchal rhetoric, Freudian and Lacanian psychology, and other discourses of desire. Cixous urges women to claim their role in history by writing, for: "By writing her self, woman will return to the body which has been more than confiscated from her, which has been turned into the uncanny stranger on display a woman without a body, dumb, blind "
Cixous continues to say that as a "subject for history, woman always occurs simultaneously in several places." Since this presents a problem for those who value the illusion of order, woman has herself become the emblem of chaos. This chaos presents fear, "Freud and his followers are consumed by a fear of being a woman!" Psychoanalysis as a model for masculine sexuality necessarily represses feminine sexuality. "Here we encounter the inevitable man-with-rock, standing erect in his of Freudian realm" to which women "have no reason to pledge allegiance."
In Cixous (1981) she argues for a connection between male sexuality as "castration complex" and female sexuality as simply "decapitation" saying that becoming sexualize as a woman is a result of an "education that consists of trying to make a soldier of the feminine by force, the force history keeps reserved for woman, the "capital" force that is effectively decapitation." Further, "Women have no choice other than to be decapitated and in any case the moral is that if they don't actually lose their heads by the sword, they only keep them on condition that they lose them--lose them, that is, to complete silence, turned into automatons. [emphasis original]."
The source of this force of education comes from an allegiance to Freud's notion of the castration complex, explained through his reading of the medusa myth. Cixous (1975) refers to Freud's sexualization of Medusa which she refutes as one of many "theories anchored in the dogma of castration" and the notion of woman as a Dark Continent, or a hysteric. Female sexuality, she argues, is "neither dark nor unexplorable" but has been riveted "between the Medusa and the abyss."
Cixous (1981) elaborates on this connection in "Castration and Decapitation" in the context of French psychoanalytic theory, specifically as in "Freud/Lacan, woman is said to be "outside the Symbolic" that is outside language" [sic]. Meaning that knowledge and understanding are based in language, and since a mastery of language is a direct result of successfully having gone through the castration complex, women are excluded. So, "because she lacks any relation to the phallus the body is not sexed, does not recognize itself as, say female or male without having gone through the castration complex." Cixous finds this conclusion ridiculous as she muses that if it were true "that would be enough to set half the world laughing. Instead, Cixous argues for the rearticulation of women's role in language.
Kuhn (1981) explains that "Cixous' own work offers an écriture
-- a practice of writing -- that aims to do this by posing plurality against
unity; multitudes of meanings against single, fixed meanings; diffuseness
against instrumentality; openness against closure. But if there
is no closure to women, Cixous offers closure for women as Kuhn says, "if
"Castration and Decapitation" says no to fathers, then the next move must
be a positive approach to the mothers." Cixous (1981) herself offers
a nearly audible claim that, "laughter that breaks out, overflows,
a humor no one would expect to find in women
'she who laughs last.'
And her first laugh is at herself." One way to reclaim this voice
is to reclaim the Medusa. Cixous (1975) insists that in fact "you
only have to look at the Medusa straight on to see her. And she's
not deadly, She's beautiful and she's laughing."
Rhetoric: links to: laugh3a.html
Freudian links to: laught3.html
Lacanian links to: mirror1a.html
Hysteric links to: laugh4.html
"Psychology": Links to laugh3.html
This page pairs a comic image of Medusa that distorts her head in relation
to Perseus, with Freud's essay Medusa's Head (1963), written in 1922,
apparently as a sketch for a much more extensive work, and published posthumously
only in 1940. Freud, S. (1963) Sexuality and the Psychology of Love.
NY: Collier. (pp. 212-213). ["Das Medusenhaupt." First
published Int. Z. Psychoanal. Imago, 25 (1940), 105; reprinted Ges. W.,
17,47. Translation by James Strachey, reprinted from International
Journal of Psychoanalysis 22 (1941), 69].
Links to: laugh3.html and laugh1.html
"Rhetoric": Links to laugh3a.html
This page allows me to include a reference to a conference paper from
which this project itself was sprung: The Second Biennial Feminism(s)
and Rhetoric(s) Conference: "Challenging Rhetorics: Cross-Disciplinary
Sites of Feminist Discourse. Investigating the Connection: Cixous's
Medusa and Other Female Images of Rhetoric. A link to the complete
bibliography is included, as well as to specific references to scholarship
on Medusa and Rhetoric. In particular, Biesecker (1982) who argues
that "The Laugh of the Medusa" is a rhetoric because "it posits what can
and must be done by women if they are to intervene effectively in the public
sphere through written and oral discourse -- we can enrich both rhetorical
and feminist theory and criticism. She describes the essay as Cixous'
"boldest attempt to articulate a philosophically rigorous concept of écriture
féminine or "feminine writing." Biesecker reasons that although
the article "seems an unlikely beginning point for revising and reconstructing
rhetorical theory
[it is] a treatise that seeks and strategically intervene
in the public sphere
a call to women to discursively intervene in the public
"Literary": Links to an outside web site that explores the literary history of Medusa, including and essay on the writer Camile Dumolié:
"Technology": Links to laugh4.html
This page connects the Medusa Myth with technology with a synopsis of Jay Clayton's (1996) essay, "Concealed Circuits: Frankenstein's Monster, the Medusa, and the Cyborg" which launches a series of connections between the post-modern and the romantic, women and monsters, Medusa and Frankenstein's Monster.
The cyborg is a simulacrum, a copy of copy with no real referent. Like Medusa, the cyborg is more than a literal body or even a body of text; the cyborg sets off a discourse through which we frame bodies strategically and politically. Clayton (1996) looks "at the relation of postmodern theory to the history that makes it possible." He argues that "postmodern theory is enabled by the exclusion of one set of historical connections and reliance on another, very different set of historical links. The circuits that make this theoretical creature go, so to speak, are not the only circuits etched in the recent past. Clayton proceeds to illustrate connections between Shelley's (1818) Frankenstein (an emblem of Romanticism), Medusa (Cixous' (1975) touchstone for psychoanalytic feminism), and Haraway's (1985) cyborg. Each of these figures is a "monster that makes us turn our eyes away. One has to turn aside to look at the unknown." Ultimately, Clayton argues that "all periods might justly be compared to artificial life forms" that is, a period of literary history can only be understood after we have constructed it as such.
Clayton (1996) explains how Mary Shelley's (1818) monster connects with Percy Bysshe Shelley's (1819) poem who "transforms Medusa into a symbol of revolutionary power" P. Shelley's "portrait of Medusa appears to comment on his wife's vision of monstrosity, "an uncreated creature" "like M. Shelley Cixous unsettles the relationship between monstrosity and vision. Cixous challenges men to gaze directly at the monster they fear, thus mocking the familiar Freudian reading, which sees Medusa a representing men's fear of castration."
Cixous (1981) in "Decapitation and Castration talks about a creature she calls "The Hysteric" who is a "divine spirit the unorganizable feminine construct, whose power of producing the other is a power that never returns to her She is given images that don't belong to her, and she forces herself, as we've all done, to resemble them." In other words, a simulacrum. This marks the origin of the Sphinx, and as Clayton says, "the current flows strong between Frankenstein's monster and Cixous' Medusa. Their laughter crackles along a circuit "
By contrast Donna Haraway (1985) (as cited in: Clayton (1996) argues "that women should be embraced the monstrous identity of the cyborg as an ironic political strategy for dislodging traditional images of the feminine. Making this gesture would require a willingness to explore one's complicity with technology, one's implication in acknowledging the fragmented, partial, constructed nature not only of one's identity but also of one's very body."
This challenges Cixous' manifesto which Clayton (1996) claims "assimilates women into a universal female subject," unlike Haraway (1985) who "opposes the search for an essential unity. Further, "the cyborg is a creature in a post-gender world." Clayton concludes, that the "fact that Haraway's cyborg is not a direct descendent of Cixous' Medusa point toward the value of attending to the multiple histories that intersect in a writer such as Shelley."
Clayton links to Jay Clayton, Simulacrum links to website exploring
this concept
Cixous links to laugh2.html, Shelley's links to laugh1a.html
Constructed links to mirror4.html, Link to complete bibliography
WINGS or "flight of the hero"
· Image: Greek Urn with winged Perseus' and Medusa's winged
· Text: Calvino, Pindar
In keeping with Calvino's concept of "lightness," this is the most stripped of all the threads. Flight is an important concept for Cixous' (1976) essay. She equates women's writing to the power of flight. Calvino's essay on lightness reviews Ovid's Metamorphoses, in which figures are continually transformed. Lastly, Perseus, the horse with wings, is born out of Medusa's blood.
Text from "Wings" main page:
This vase depicts the headless body of Medusa; only a bit of her head peeks out of Perseus bag.
From Ovid's Metamorphoses:
And when deep sleep had overtaken her,
Together with the snakes that wreathed her hair,
He cut that Gorgon's head off from the neck;
And from Medusa's blood two sons sprang up:
Chrysaor and the wingèd Pegasus.
Key to links:
"Perseus" links to: wings3.html, Cellini's Statue of Perseus and Pindar's victory songs:
Pindar: Pythian Ode 12: Most radiant of mortal cities, ...
Perseus, her son, who they say was sired
In a shower of streaming gold
When one desire will succeed, but another will fail.
"Ovid" links to: stone1a.html for fuller sample of Ovid's text
"Wingèd" links to: synopsis of Calvino's (1988) essay on "Lightness."
In Six Memos for the Next Millennium, Calvino (1988) begins this book of essays with a discussion on the virtues of "lightness." By this he means to evoke a method of writing fiction that is largely subtractive, as if carving away to create a sculpture. Calvino considers the subtraction of weight from the structure of a story, and from language itself, offering a vision of entering the new millennium on the back of Pegasus: "I have come to consider lightness a value rather than a defect; I recognize my ideal of lightness as I project into the future."
Calvino's focus on the future is based on his view that the world, at times, was like stone, "as if no one could escape the inexorable stare of Medusa." He reminds us that Perseus flies with winged sandals, "the very lightest of things" and is the only hero able to conquer Medusa. Perseus uses his shield to avert the eyes of Medusa and "to cut off Medusa's head without being turned to stone." In fact, Perseus' actions set forth a series of events: The blood from Medusa's severed head does not petrify, but "gives birth to a winged horse, Pegasus--the heaviness of stone is transformed into its opposite," especially when "with one low of his hoof Pegasus makes a spring gush forth, where the Muses drink." Another transformation takes place when Perseus makes a bed of seaweed upon which he rests Medusa's head: "the most unexpected this is the miracle that follows: when they touch Medusa, the little marine plants turn into coral and the nymphs, in order to have coral for adornment, rush to bring sprigs of seaweed to the terrible head." Eventually, Perseus rescues Andromeda.
For Calvino, "Perseus succeeds in mastering that horrendous face by keeping it hidden," in fact, "Perseus' strength always lies in a refusal to look directly, but not in a refusal of the reality in which he is fated. Calvino considers Perseus an agile hero who "raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness. And a hero who can transform worldly weight into lightness "makes possible a flight into a realm where every need is magically fulfilled," including the possibility of flight.
Sculpture links to wings3.html, Hero links to stone1b.html
Shield links to shield1.html, Adornment links to stone4.html
Andromeda links to mirror4.html, Transform links to stone1a.html
Mask or "self-representation"
· Image: Giancinto Calandrucci "Head of Medusa"
· Text: Derrida's Memoirs of the Blind
Inspired almost entirely by Derrida's essay, this is the only title
page of any thread that contains links to other pages. Because it
is the last of pages, and fits together with so many other threads, I have
included links to "shield" and "mirror" to generate a sense of connectedness
to the other pages. Further analysis of concepts behind this thread
is developed in the text of its title page:
Text from "mask" title page:
To look at the self, we need both a mirror and a mask. The mirror
to see our own reflection, and to recognize that the self can never be
seen unmasked--the reflection is itself a layer of protection from the
reality of existence. To see oneself is death, or at best, blindness.
Derrida's (1993) Memoirs of the Blind addresses issues of vision, blindness,
and self-representation in relation to drawing. This print by Calandrucci,
found at the Louvre, is a lesser-known work that challenges the notion
of the self-portrait because the artist casts himself as Medusa.
Like Caravaggio, this self-representation is a self in drag, imagining
the artist as a monster, commenting on the ways we perceive ourselves.
Derrida reminds us that Athena turns the Gorgon Medusa into a snake headed
monster because she is offended by the nakedness (Poseidon's rape of Medusa
took place in Athena's sacred grove). Perseus must slay her,
but essentially "go in blind" because if he looks at her, he will be turned
to stone. Athena makes the task possible by giving him a shield that
he uses as a mirror, to see Medusa without looking on her with his own
eyes. Perseus' own identity is masked with the cap he wears, making
him invisible to the Gorgon sisters.
Perseus has the experience of the gaze without suffering the fate of vision, a concept represented by the French word: médusante, or the threat of a petrifying vision. It would be impossible for the artist to render and image of himself with out a mirror, likewise, self-reflection requires the acknowledgement of a degree of self-blindness. For Derrida, to know the self is to remove the mask of identity we wear that protects us from our vulnerability to being made a mere object of the gaze. In drawing the self, we must use the mirror like Perseus, to remove the mask that veils our identity, yet to do so brings about the "Medusa" effect: "the mask shows the eyes in a carved face without coming face to face with a petrified objectivity, with death or blindness."
Derrida explains that, "[e]ach time one wears a mask, each time one shows or draws a mask, one repeats Perseus' heroic deed. At one's own risk or peril...each time [the mask] is shown, exhibited, objectified, or designated, it is Perseus who is put to the test of drawing. Consequently, he explains, "the story of this heroic son does not only give rise to the narrative of an event" but it also defines the structure of the event. "Without directly facing the fatal gaze of Medusa, facing only its reflection in the bronze shield polished like a mirror, Perseus sees without being seen. He looks to the side when he decapitates the monster and when he exhibits her head to his enemies in order to make them flee with the threat of being petrified." Thus, Perseus in a rather oblique way is able to harness the power and the threat of the gaze. "A ruse that consists in the sidestepping rather than meeting head-on the death that comes through the eyes."
Key to links:
"Mirror" links to mirror.html to show the connections between these two threads.
"Derrida" links to www.derrida.com, a site dedicated to Derrida full of information.
"Louvre" links to www.louvre.fr, the official museum web site.
"Caravaggio" links to shield1.html and the image and analysis of Caravaggio's Medusa.
"Gorgon" links to shield3.html, the Gorgon Goddess that represents local goddesses.
"carved face" links to mask2.html, to the animated character Hexadecimal, a virtual Medusa:
Hexadecimal: each time one wears a mask, he repeats Perseus' heroic deed. In contemporary culture an interesting site of such a heroic deed emerges out of the digital world with "RE: boot's" villain "Hexadecimal." She represents a computer virus, a trickster figure who must be dealt with, but is never destroyed, by the other characters of the series In this cyber-comic book world, she changes masks to express emotion, never revealing her true self.
"vision" links to shield3.html, an original experimental piece created
for this web site.
Athanassakis, A. N. (trans.)(1976). The Homeric Hymns. Baltimore:
Johns Hopkins University Press.
Athanassakis, A. N. (trans.)(1983). Hesiod: Theogony, Works and Days, Shield. Baltimore: Johns Hopkins University Press.
Bal, M. (1985). Narratology: Introduction to the theory of Narrative. Toronto: University of Toronto Press.
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I'm at a loss for what to do here. I'm about to start my afghan, which I'm knitting all in one fail swoop instead of sections that I'll sew together. My problem is that the stoppers I use to keep stitches from sliding off (which will be imperative when I set my project down for a spell) love to pop right off my slick Addi circulars. I love knitting with my Addis, so I don't want to swap them out for bamboo (which would mean buying another long-ass needle anyway), but I don't know what to use to prevent the stitches from slipping off. I've tried to find some stoppers that aren't just "caps" for the points of the needles but haven't had any luck. Does anyone have any ideas? I was really hoping to start this project, but until I can find a solution, I'll have to put it on hold.
I have knit many blankets, and I always do it on long circular needles so that I don't need to worry about stoppers.
What a wealth of interesting and useful tips. LOL Due to my lack of a desire or money to run out and hunt for more knitting items such as some described (including scantily clad project-holding men), I am currently using rubber bands. Such a simple solution.
Although an attractive project-holding model is appealing, I don't know how kosher it would be to have a shirtless stud holding my afghan-in-progress here at work during calls. LMAO
"Men can starve from a lack of self-realization as much as they can from a lack of bread." --Richard Wright
Rubber versus plastic stoppers...........
Well you have had just about the whole gambit of solutions..... My is absolutely boring. I have used plastic stoppers and they have never worked well for me. I have another set, however, that are rubber. They really grip well and have to be fought with to get them off the needles. Jason's solution is far more entertaining, but your partner might have better things to do with his time and may think that its creepy to take your money :-)
I think hiring Jason and Thomas to "hold your sticks" in various states of undress is an excellent option.
The frugal choice, which works really well is rubber bands wound around the ends. You also control how loose or tight that they are wound.
I occasionally use rubber bands...wond several times around the needles...
you could also hire someone to hold on to your knitting while your off being busy somewhere else...someone, cute, manly and who doesn't like wearing clothes
I like Jason's idea.
I use wine bottle corks
I sometimes use small balls of 'Blu-tack'.
there are stoppers that are two tubes connected side by side like extension cord and you make the needles parallel with both points in the same direction to insert them. they have worked very well for me with my addis.


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I think because I just read I Am Forbidden by Anouk Markovits, which deals with similar issues of the Satmar Hassidic community, I may have judged Unorthodox more harshly than I... Read morePublished 6 months ago by reluctantm
For me the most interesting thing about this book was getting a peek into this extremist group of religious zealots. Read morePublished 11 months ago by Kindle Customer
Love the book !!! I had reconnection or flash back with my own childhood, even thought I come from different culture.Published 13 months ago by Viktoria Asnitsky
Very sad that this exists. I am a Christian and love the Jewish people. But according to the Bible, that is no how God wants children to be raised. We have a loving God.Published 16 months ago by Elisabeth Janzen
This is a very insightful memoir that raises mixed feelings. It is written with passion and portrays the way of life of the Hasidic Satmar community in New York in ways that I did... Read morePublished 18 months ago by Susie Njiks
I was enlightened by the facts in this story of an Orthodox Satmar girl growing up in her confined community in New York. Read morePublished 20 months ago by Barbara O
There was something about this book that struck me as shallow and insincere. It was interesting what the author omitted - such as information about her relationship with her motherPublished 23 months ago by esther caplan
It took a lot of courage for the writer to tell us the inner workings of the Hassidic Sect. There were a lot of things that I didn't know about even though I'm Jewish. Read morePublished on July 31 2013 by Patti
Her isolation from the outside world is very well told. Brought up with distant love and unprepared for what adult life was to bring, she tell a compelling story of growth and... Read morePublished on April 13 2013 by Cottage guy


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Cavalier powderpuff has big night
A big crowd turned out to raise money for an important cause and a bunch of mixed-up fun as Southern Lee held its fifth annual Powderpuff Game Wednesday night as part of homecoming celebrations at the high school.
The night, organized by the Southern Lee Sports and Entertainment Marketing 2 Class, raised money for the Susan G. Komen Foundation capping off Pink Day, for breast cancer awareness, all day at the school.
The admission, with an attendance turning out which might've rivaled some of the Friday night crowds at Cavalier Stadium, along with concessions, Cavalier merchandise, raffles and business sponsors from all over the county raised money to fight breast cancer.
During halftime, Southern Lee staff member Shanna Roberts spoke, sharing her experience from surviving the disease.
"I was a 34-year-old who was told you have stage 3 breast cancer, and you may or may not be here in five years," Roberts said.
"But I learned, through a positive environment with my friends and family, you can survive it," she said. "However you can help, it means everything, because beating breast cancer, any cancer, is all about your friends, family, church and support group who can help you get through it."
Thanking everyone who turned out for the night, Roberts said, "this truly is a community affair."
The action on the gridiron was frantic the whole way. The senior team led 28-24 at halftime. The junior team led most of the second half before a senior touchdown with less than two minutes remaining made it 40-40. While flag football, competitive drive took over in the battle between classes for a number of physical clashes on running plays and pile-ups for fumble recoveries.
Going to overtime, which was a field-goal kick-off tiebreaker, the squads made 1-of-2 each from 15-yard field goals. The juniors won 2-1 from 20-yard field goals to prevail, win a pink and cotton colored facsimile of the Brick City Bowl trophy and dance - which there was plenty of throughout the game anyway, including from about a dozen Cavalier football players who were cartwheeling, oddly-accessorised cheerleaders. The senior cheerleaders won the halftime "cheer battle."
Southern Lee's homecoming week continues until Friday night and the Cavaliers will host Gray's Creek at 7:30 p.m.


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You'd be hard pressed to find any mention of a bite sized HTC One M8 during the device's reveal in New York. Just because HTC released the HTC One Mini last year, doesn't necessarily guarantee they'll be doing the same this year. For those that were worried, the HTC One M8 Mini has just popped up on Swedish carrier Telia's list of devices supporting HD voice on their network. Funny, given HTC hasn't made the phone official (at least, not to the public).
It really shouldn't come as much of a surprise, given the new model is reaching new heights, making a smaller variant more necessary than ever for buyer's looking for something a little more palmable. Don't forget that recently @evleaks confirmed the phone's existence, making it's release all but certain.
Still undisclosed are the actual form factor and whether or not HTC will forgo the "Duo Camera" array on the mini sized version. While the verdict is still out on that one, we can't wait to see the other improvements HTC has made on the device when it makes its inevitable debut later this year.
Continue reading:
- HTC One Mini 2 press pics leak
- HTC One M8 Mini to Verizon
- HTC One M8 Mini rumors
- Samsung trademarks "Circular UX"
TAGS: HTC One M8 Mini


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Feb 21, 2013
oops thats oscar, not oacar, sorry, i dont type or spell well
oops thats oscar, not oacar
for chuck, not sure why you dont get 45 down, maybe you dont know what a razzie is. it's the opposite of an oacar, award for worst picture of the year. sorry if this is not what you were confused about
i thought 45 down was ishtar,, not sure if it got a razzie but it deserved one
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The exercise science program gives students a strong foundation in knowing that human life and all its intricacies are a revealed gift from the creative hand of God. This program explores human movement and its effects on the body with a focus on stewardship of what God has entrusted. With personal health and fitness occupying much of our nation's attention, exercise science is an excellent way to tap into a plentiful job market whose goal is the promotion of a healthier nation through exercise and fitness programs.This program is completed as a collaborative program with Cornerstone University.
In this program, you will:
You'll take classes in anatomy and physiology, first aid and injury prevention, motor development and learning, anatomical kinesiology and statistics.


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Dennis Michael Carlini, 68, of 148 Spruce St., Brockway, died Thursday, May 26, 2011 at DuBois Regional Medical Center.
He was born Jan. 9, 1943 in Ridgway, son of the late Michael and Virginia Eukon Carlini.
On June 8, 1983, he married Denise "Dee Dee" Esposito of Brockway, who survives.
He was a member at St. Tobias in Brockway, where he also served as an usher for many years. He was a U.S. Navy veteran and served during
Tina M. Close, 43, of East Weber Avenue, DuBois, died suddenly at work, Tuesday, May 24, 2011.
She was born October 3, 1968 in Lynn, Mass., daughter of Eugene Close of Ridgway and Ann (Moats) Stroud of St. Marys, who survive. Â
She was a clerk at Snappy's of DuBois and enjoyed the outdoors, especially fishing. She lived most of her life in Massachusetts and lived in the St. Marys/Ridgway area for 10 years until moving to DuBois last year to attend school.


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Sweet Briar's English department offers a breadth of courses in literature, creative writing, expository writing and film. The Department offers majors and minors in English and in English/creative writing. In addition, it is the anchor of the Medieval and Renaissance studies minor at Sweet Briar.
What unites these varied courses is an appreciation for the value and power of language as both an aesthetic medium and a social force. Here, you will learn to read analytically, to write persuasively, and to think both creatively and probingly. You will also take part in a thousand-year-old tradition of shaping yourself and your world through the study, and the pleasures, of English language and literature.
Why Should I Study English?
The joys of imagination and discovery bring many students to literature, creative writing and film. We welcome and celebrate that delight, and we offer students the academic tools and the support they need to deepen both their understanding and enjoyment of language and film.
The skills and habits of mind that students develop through the study of English are also marketable in today's competitive global economy. Employers value creativity, analytical thinking and effective communication, as well as historical perspective, cultural awareness and the ability to understand and synthesize the views of others. All these attributes and skills are mainstays of a major or minor from the English department. In addition, the insights derived from reading and writing are as valuable to students in the professions and the natural and social sciences as they are to students in the humanities.
What Can I Do With an English Major?
The skills gained from the study of English at Sweet Briar prepare students for the challenges of advanced study and for the rigors of the workforce. The evidence is clear: In recent years, Sweet Briar English majors and minors have gone on both to world-class graduate programs in English, creative writing, law, journalism and business, as well as to successful careers in education, publishing, marketing, journalism, business, finance, public relations, communications and library and information science. Faculty members, distinguished alumnae and members of the English Advisory Council are eager to talk with prospective majors and minors about the benefits of pursuing their degree with us in the English department, and Sweet Briar's nationally-ranked Career Services is dedicated to helping students find rewarding employment after college.
Reading Books... And What Else?
Sweet Briar English majors are supported both in and out of the classroom. Classes are small and discussion-based, giving each student the opportunity — and responsibility — to ask questions, to push past their preconceptions and to join in a community that respects and values ideas. Professors get to know their students well and expect students to take an active and interested role in their own learning.
Students' curricular studies are supported by a broad range of additional opportunities and activities. Just for starters, students can participate in internships, study abroad, field trips, the English Honor Society, the English Journal, our Film Series, our literary magazine Red Clay, and our student newspaper The Sweet Briar Voice.


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Below is the poem entitled DECEPTION which was written by poet
Drago. Please feel free to comment on this poem. However, please remember, PoetrySoup is a place of encouragement and growth.
Read Poems by
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Deception creeps around corners of every street. Man operates in survival - day by day, night by night. Pushing, pulling... pulling, pushing. Rotating left, rotating right. Deception comes during operations of survival. Deception is present when least expected, causing havoc to all involved.
Be aware of life's deceptions. Know that you are not victim - you are survivor. Know this in your innermost being. Be strong. Hold on to all your values. Deception will flee. Deception will die. Keep your values. Know that you are whole.
Louis Drago


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Hold your breath, make a wish, count to three.
-Willy Wonka
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Looks very cool to me. I like the whole Polynesian themes with the canoes and the big volcano that connects to the pool. Another Disney masterpiece. What do you guys think about it.
YouTube - Waikolohe Valley Takes Shape at Aulani
Looks very cool to me. I like the whole Polynesian themes with the canoes and the big volcano that connects to the pool. Another Disney masterpiece. What do you guys think about it.
YouTube - Waikolohe Valley Takes Shape at Aulani
Last edited by Dustysage; 03-29-2011 at 01:55 PM.
The architecture isn't terribly creative. What exactly makes this hotel Disney?
Coconut Wireless on Flickr has lots of photos of the hotel and often adds new ones if you want the latest progress: Flickr: coconut wireless' Photostream
Since the original post asked our opinions, this is my take on the hotel: The central landscaping/pool/lazy river area & the lobby are looking to be an A+, up there with the very best Disney (or anyone else) has done.
My criticism, which is the exact same criticism I have for Animal Kingdom Lodge, is that the room wings (which make of up the visible majority of the hotel) seem to be more of an afterthought and aren't on the same level of execution as the lobby and recreation areas. While they do have nice thematic elements such as the wooden beams, rope bindings, "thatched" rooflets and geometric murals, it's not quite the same as Disney's Wilderness Lodge, the TDS Mira Costa, the Beach Club, DLP Hotel and a handful of the other greats, where the architectural excellence is consistent throughout the entire resort building and grounds.
It would not be easy (or inexpensive) to do this one a 15+ story hotel, but aesthetically, I think Aulani's dressed up, but somewhat standard, hotel wings, keeps it from reaching the heights of a Wilderness Lodge or a MiraCosta, from an aesthetic standpoint.
Lobby, Grounds, Pool Area: looking A+
Hotel Towers: B
As a whole it will still be among the best large-scale hotels in Hawaii, if not the best (not counting the small-scale, ultra deluxe resorts). The pool area looks like it could be one of the best hotel pools in the world, vying with Stormalong Bay, Atlantis (in Dubai, Bahamas) and a few others.
Last edited by RandySavage; 03-22-2011 at 12:22 PM.
omg im going next month and staying next door at marriot ill get pics and post them but Imo i dont like it that much all the hotels around the area are nice and luxurious but this hotel breaks the theme of the koolina area imo the other hotels have like 300-400 rooms each this thing has to many rooms and the beach will become crowd and not paradise like imo
It's a music Celebration
Come on, come on, come on
Strike up the band,
Feel the beat, what a great sensation
Come on, come on, come on
Move and clap your hands,
Get into the Spirit
Let everyone hear it,
So come on, come on
Step into the Magic
Watch the stories come alive
Step into the Magic
Every color shines so bright
Step into the Magic!!!!
-Disneyland Forever Fireworks
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Sterling Smith of Half Price Movers helps move boxes out of Christus Spohn Health System's former diabetes center location in Sunrise Mall, while Melissa Trejo supervises. Classes at the new location at Spohn Hospital Memorial start today.
Melissa Trejo (left) and Linda Garcia box items to move from Christus Spohn Health System's diabetes center in Sunrise Mall to its new location at Spohn Memorial.
The diabetes hub for Christus Spohn Health System moved to the Spohn Memorial Hospital which will be open for business Monday, December 8,2008.