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APA Essay Format Most Commonly Used Citations. Full APA Referencing and Formatting Guide for movies movie College Students. The APA referencing style refers to the American Psychological Association format that is used in colleges and diversity experience essay universities around the worlds for writing essays, dissertations, and coursework. It is more common college writing formats in movies movie theaters, nursing colleges, business-related, or social sciences courses. The latest guide of APA essay format is the 6 th edition, and has strict rules on citing a research paper sources, formatting reference lists, and creating chapters, sub chapters, and figures.
Below, you will learn how to The Rise in American Cons format your APA essay format using 6 th edition and list your sources. The main parts of your APA paper are: Title page Abstract (if required) Body of the essay References List of figures (if required) List of movie theaters tables (of required) Appendices (if required) Title Page in APA Referencing Style. In APA style, you will need to include a title page that includes the following APA headings section: On the title page, you will need to format your header differently than the rest of the paper as follows: “Running head: TITLE OF YOUR PAPER” on the top right corner of the page. On the rest of the a worn path essay paper, you will only theaters, have to include the title, without the “Running head”. For additional details, you can review a title page template right here: What is an abstract page and how to write good Abstract APA? APA Essay Format. The abstract of your essay needs to include the page header, and the keywords along with a short synopsis of the essay, in 150-250 words. How to Format Your APA Paper – Essay Body.
The main body of the path APA paper has to include headings to correctly format the movie content. Consumer Behavior Question Paper? Level 1 headings are centred, bold, and theaters title case. A Worn Path Characterization Essay? Level 2 headings are aligned left and bold. Level 3 headings are bold, indented, and lowercase, with a full stop at the end. Indent all new paragraphs when introducing a new idea.
Do not add extra space between paragraphs. References: APA Bibliography Format. You always have to movies theaters include your references in your APA style paper. The general rules of referencing are as follows: Reference all authors consulted writing the paper. List your sources in an alphabetical order Use the essay on violence following format: APA in text Citation Referencing Style. General APA referencing rules. Provide the page number for all direct quotes, and use quotation marks If direct quotations are longer than 40 words, use a ? inch indentation for theaters the entire quote If you are paraphrasing a statement made by of advertising in American Cons an author, always include the page number. If there are no page numbers as you are citing a website, use the paragraph number instead in the following format: “para. 1”.
Citing more than one source. Movies? If you would like ot know how to cite more than one source in a sentence apa then remember that you shoudl list all the The Rise of advertising Cons sources separated by “;”. Referencing work with one author. When referencing a work with one author, you simply use their surname. For two authors, connect the movie two names with a “” sign. Referencing multiple authors. When mentioning the work of three to five authors, mention all of their surnames the first time, and only write the first author’s name when you mention the same work again, followed by the “et al.” abbreviation. Make sure that you do not put a period after the “et”. For six or more authors, always use “et al.” after the first author’s name from the first instance. Referencing an unkown author.
When referencing a work from an unknown author, use the title of the paper instead. If the paper is a worn path characterization, written by an author identified as “Anonymous”, use this instead of the surname. Referecning personal communication. If you are referring to personal communication, reference it with the name, followed by “personal communication”, and the exact date. Reference Page APA 6th Referencing Guide.
When writing your reference page, make sure you keep an alphabetical order based on the last name of the authors. If you quote multiple sources from the same author, list the movies movie references in path characterization essay, chronological order. The name of the authors in APA 6 th referencing is inverted, therefore, you list the surname first, and the first name second. Use a hanging indentation for each reference, with no indent on the first line and indentation for the following lines that belong to the same source. See an some APA citation examples and reference list below: List the name of the directors and producers followed by “(director)” and “(producer)”, followed by movies movie theaters the production date. the personal experience title of the theaters movie in consumer question, Italics, and movie theaters the location of the file, DVD, online resource, or tape.
Use the songwriter’s and the singer’s name followed by the year and title, format, and location of the recording. If the in American Cons recording has a publisher, list this, as well as the city where the music was publisted, Online Periodicals APA Essay format. Use the same APA Essay format for listing the source as normal journal articles, however, if there is a DOI assigned, this is required in the reference. Movies? If there is no DOI, you must list the url where the ideas for a science research paper article is theaters, available, after adding “Retrieved from”. Word of Caution when Using APA Bibliography Format. When citing longer works, such as journals or books, use italics for the title. Do not use quotes for titles, or italicise the a worn essay title of theaters shorter works. Personal Experience Essay? Never abbreviate the name of the journal: always list it as full, with title case. Movie Theaters? In APA Essay Format 6 th edition, not all online journal articles need a URL address, and if you can locate the DOI number, you need to use this instead. Make sure that when you list unpublished manuscripts, you state this in personal diversity, your APA reference list.
Check the special requirements for each paper before starting to write your APA paper. Where to Get More Help on How to Write an APA essay? There are so many resources on the web that goes into a lot of detail about APA format. Movies Movie Theaters? We feel that students struggle the most with time or in the case of dissertation writing, they struggle with coming up with Dissertation Topics. From that point onwards, students can either manage OR for more precise help they can reach out to one of WritePass qualified writers. Just to give you an good ideas for a science, example Owl at purdue and their writing lab has done a lot of work to movie provide good resources. You can check it out by reviewing Owl at good research paper Purdue link provided here. In some cases, APA referencing and formatting can be challenging for students, and they come across sources they are not sure how to theaters reference. While Cite This for Me is a good tool, it does not include all types of hannah arendt essay APA references.
WritePass has several qualified and movies theaters experienced academic writers, researchers, and guides who are happy to answer your questions. Submit your query on the WritePass website and get help with APA referencing and formatting. Our friendly writers and support staff are happy to assist you. Behavior Question? Do you need help writing your Dissertation? If you enjoyed this article, subscribe to receive more just like it.
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Beat the Applicant Tracking Systems (ATS): How to Survive Resume Reading Robots. By Resume Genius / September 29, 2014. Here’s an experience you’ve probably had: You write a solid resume for the perfect position at movies a big-name company, and essay, send it off with an earnest cover letter. Unfortunately, besides an theaters automated email reply, you hear absolutely nothing back. You feel crushed — you think some hiring manager on the other end actually read through the entirety of your resume and concluded that you weren’t qualified for diversity experience the job. But here’s the twist — chances are, no human has even laid eyes on movies theaters, your application. The truth?
You were probably rejected by experience essay resume reading robot called an Applicant Tracking System (ATS). You were probably rejected by resume reading robot called an Applicant Tracking System (ATS). Welcome to the 21st century. Large and even medium sized firms are using ATS to deal with the hundreds, if not thousands of applicants who are applying to the same positions every day. Theaters! This resume reading software allows these companies to to automate, streamline, and consumer behavior question paper, manage the hiring process. Why are companies allowing robots to make human resource decisions? Going through resumes to screen applicants is tedious work. But the ATS speeds up this process by movies theaters identifying candidates whose resumes contain key experiences and of advertising Cons, skill sets that match the qualifications employers are seeking. According to a popular study conducted by movies search services provider Preptel, as many as 75% of the candidates don’t make it past the ATS screening. Path! It may seem brutal, but this screening process does the job of whittling down a cumbersome applicant pool into just a handful of movies theaters applicants that the human hiring managers can review more closely. Here’s the takeaway for living in the age of resume reading robots — a well-crafted, ATS friendly resume is absolutely critical to a successful job hunt.
Here’s the takeaway for living in the age of resume reading robots — a well-crafted, ATS friendly resume is personal essay, absolutely critical to movie theaters a successful job hunt. Qualified candidates that fail to make an ATS friendly resume will get rejected, period. Here are 4 reasons that even the most qualified candidates can fail to After combing the web and consulting some of behavior question paper our in-house experts at Resume Genius, we zero in on the most common reasons why resumes of movie even the most qualified candidates fail to pass screening. Reason #1: The ATS can’t actually process your resume. Warning: The ATS will fail to characterization read your artistic additions to your resume . Although a human hiring manager might appreciate a little flair, the theaters resume robot will simply incinerate your resume without a second thought.
It would be a shame for consumer behavior paper your resume to get screen out movie, because the ideas research ATS is unable to read it. Movies! Basic rule of thumb: keep your fonts and formatting simple. Scrap inventive layouts, graphics, or artifacts that affect the readability of your resume. Sometimes the The Rise of advertising in American Cons ATS will use a built-in optical character recognition (OCR) software to processes your digital resume. It scans your file, converts it into a text format, then extracts your information and experiences from there. While the movies movie ATS is ideas research, getting better at reading PDF files, it’s still safer to movie theaters feed the personal diversity experience system a Word or Text file. Do away with any adjusted spacing, newsletter formatting, lines. Go with the clean, standard fonts like Arial, Verdana, and Times New Roman. Scrap inventive layouts, graphics, or artifacts that affect the readability of your resume. Reason #2: The ATS doesn’t recognize the headings you used. Applicant Tracking System software is built to sort your experiences based on the resume’s section headings.
If you’ve written a different heading than normal — say “Major Abilities” instead of “Skills,” it will skip over that section if it is unable to determine what your heading stands for, the CIO reports. People like to get creative with headings, thinking that it will help their resume stand out. Unfortunately, unconventional headings can actually hurt it. Help the software do its job. Use the standard headings “Work Experience”, “Skills”, “Publications” so you don’t stand the risk of the resume bot placing your qualifications under the wrong categories, or misreading your headings altogether. Reason #3: Your resume lacks targeted keywords. By now, you’ve formatted your resume properly, and used normal headings.
Here’s the meat of how an ATS actually reads your resume. It’s looking for targeted keywords. First, the hiring manager will input certain keywords and key phrases into the software, each relevant to the role they need filled. For example, an movie software company hiring manager might use these keywords: Next, the experience ATS software will read through each resume, and determine whether the it has enough keywords and movies movie, key phrases to pass through the screening. If the percentage is high enough, your resume will successfully be reviewed by an actual human. Your ability to The Rise of advertising in American use the right keywords depends on movie, two things: Do you actually have the relevant skills, abilities, education, and personal experience, work experiences?
If you do have all or some from #1, doing good research and giving your resume a hard look-over will get you through the ATS. The best place to begin is to read the hiring manager’s very own job description. From that job description, you can see what keywords and key phrases they emphasize a potential applicant should have. If they include them in movies, the job description, it’s highly likely they’ve also input them into the ATS. The image below contains a real example of a librarian job description, and the image next to it reflects what we believe are important keywords a librarian applicant should include on their resumes: Normal Job Description.
Job Description with ATS Keywords Highlighted. GREEN HIGHLIGHT: Keywords that are CRITICAL to getting past the ATS. YELLOW HIGHLIGHT: Keywords that will please the human hiring manager, or are ATS keywords of lower importance. The job post gives you good clues about keywords and experiences employers are seeking. It’ll serve you well to read those job descriptions closely, and identify important competencies and skill sets. Place emphasis on personal diversity experience, these matched experiences in your resume. It’s also helpful include both specific and movie, general keywords in essay, the mix. ATS uses all of these keywords into movie certain job functions.
For your previous position as “team leader”, include job-specific buzzwords such as “coordinate”, “manage”, but having the good ideas for a science research general keyword “project coordinator”, “project manager” will help to strengthen your resume. Be sure to movie theaters try out our ATS-friendly resume building software that comes with over a worn characterization 50,000 professionally-written phrases and job-specific keywords. Reason #4: Your resume has too many nonspecific keywords. Some have suggested “hacking” the resume bot by submitting two or three-page long resumes that exhaust all keywords that are relevant to the job. That’s not a good idea — even if it did work (it doesn’t), it certainly won’t impress the theaters human hiring manager. you can’t stuff your resume with an personal experience exhaustive list of movies experiences and hope to ocr a2 history coursework game the movies movie theaters system into thinking you’re a perfect match. According to a report from The Ladders, ATS software ranks your candidacy based on how specifically your resume matches keywords and phrases in a job description. Some software even looks for how uniquely the work experiences you listed match the job requirements.
Here’s the personal diversity experience rub — you can’t stuff your resume with an movies movie theaters exhaustive list of a worn path essay experiences and hope to game the system into theaters thinking you’re a perfect match. Having off-target keywords can score your resume down on relevancy. Use the instruction from #3 to research relevant keywords and a worn characterization, ensure that your resume is concise and targeted. To the greatest extent possible, your resume should uniquely match the movies movie theaters requirements in the job description. To sum it up: the bots are getting better at contextualizing resumes, and recruiters are always aiming to ideas research interview candidates whose experiences adhere the most closely to positions they’re seeking to fill. Movie! Therefore, having targeted, job-specific keywords throughout your resume is ideas research, more important than ever.
Reason #5: Your resume lacks industry and company jargon or abbreviations. Experts suggest that adopting industry jargon or even including a company’s corporate lingo within your resume is a smart choice. Movie Theaters! If you think about it, it’s only The Rise Cons, logical for the hiring manager to input industry jargon and movies movie theaters, abbreviations into an ATS. Therefore, you will need to optimize your resume to include these terms wherever possible. Fortunately, this is very simple to do. Weave relevant jargon and terminology into your resume, and spell out the abbreviations and acronyms. DO NOT ever simply include an acronym or abbreviation by itself on a resume. Personal Diversity! You should always spell them out completely, followed by movies theaters their abbreviation or acronym.
Acronyms with Spelled out Examples. Federal Bureau of Investigation (FBI) agent with 10+ years of experience. Optimized and purchased Pay Per Click (PPC) ads for a major software company Maintained plant operation’s perfect record of zero Operation Safety Health Administration (OSHA) recordables. If you’re unfamiliar with a certain industry’s lingo, you can research jargon and abbreviations specific to the field, sector, or industry in which you’re seeking employment. To sum it up: a resume with clean formatting and clear, targeted language gets you through ATS screening. Once you land that interview, however, it would be advisable to have a more descriptive and eye-pleasing version of your resume ready for your human recruiters. Thanks… this really was useful. Thanks for hannah arendt essay on violence your comment Rasana! Glad we could help! Feel free to ask us any questions. I have found that in order to get your resume even considered, you must really target each position for the relevant key words.
Also, do the movie theaters same for your cover letter or add those that were missed in the resume. You are absolutely correct about targeting each position for relevant key words. Hannah Arendt On Violence! One of the best places to pinpoint relevant key words is in the position’s job description. Great comment Jamie! I’ve been reading articles on cracking the movies theaters ATS for a couple months now, just confounded at what I was doing wrong, or what I could do differently. For A Science Research Paper! this article has been more helpful than ALL the others!
Thanks for theaters that. The Rise Of Advertising! Bookmarked! Thanks for your comment Pert! Glad that you found our article useful. Good luck on the job hunt! This is very useful information, thanks for theaters sharing.
Glad you found it helpful. In American! Be sure to share it with your friends and get the word out. Thanks for the comment. High Quality Candidates: If a company doesn’t care enough about you and your far superior talents, capabilities and movies, experience that they throw an ATS software program in your way DON’T reward them with an application! ATS software and all similar crap will be avoided by companies IF there’s a large enough movement among the highly qualified and most talented employee pool.
Concentrate on those companies that treat you like a real human and avoid the automated people processors whenever possible! Companies will catch on to the consumer behavior paper detrimental nature of this “time and cost saving software” and realize it’s costing them everything! Many already have. Imagine, as with myself, you work in a totally “visual” industry where picture representations of your work tell virtually your whole story! Applying for a graphic design, art director or illustrator job has been rendered orders of movies theaters magnitude more difficult with the advent of behavior question ATS processing!
The situation is about as insane as trying to movie get a singing job with no recordings of your voice being allowed and no chance for a personal audition! Companies with H.R. people who have virtually no expertise in the commercial art field are already at a huge disadvantage in making any kind of Cons qualified decisions regarding such applicants. Add to that a totally intrusive, opaque and “dumb” software program placed strategically as a final barrier to any chance of movies theaters actually communicating your amazing talents and, well, you have the “perfect storm” of employment failure – both for the employer and potential employee. Agreed. However, my line of work is hannah arendt, not with the smaller companies that seem to actually read a resume but within the larger corporations and they ALL use ATS! Buzz words (key words) are definitely the movies movie theaters secret and consumer behavior paper, one must learn this and use the job description in the posting and customize the resume accordingly or else be among the roughly 75% that are automatically not reviewed and receive the proverbial computerized canned rejection letter from movies, a “do not reply” to email address! Definitely, if your are in the design and arts profession, ATS is surely the Antichrist! Preach!!
I 1000% get what you’re saying!! I’ve been in the advertising industry for 25 years, 13 years on staff, and the last 12 years as a freelancer. How in the world do you include 12 years of hannah arendt significant freelance work with several different clients on a multitude of different accounts with all kinds of varying calendar timing through an ATS and expect it to movies theaters spit out anything resembling a solid, successful overall career?? Despite the fact that so many highly qualified candidates are finding the ATS to be their ultimate challenge in the job search, the “sheeple” continue to just follow the guidelines to gaming the The Rise of advertising system via keyword dumping rather than avoiding companies who rely on filtering human beings through their ATS. Unfortunately for movies movie theaters the likes of good research you and theaters, me, we don’t really have the luxury to ocr a2 NOT play along at movies least a little bit or get utterly left behind, but I agree completely that if more people just stop playing along, companies will finally get exactly what you said: it’s costing them everything! That’s easy to say if you have a job. But if you are unemployed, you have little choice. This software should be outlawed.
No wonder the nitwits in HR claim they ‘can’t find qualified people’, their ATS screened them out beforehand. Woww. The Rise! Having the right information at movies theaters the tip of your finger can actually ease the The Rise of advertising in American Cons endless pain of job seeking and resume submission without consideration. Thanks, your article is encompassing and indeed rich. Keep it up. Glad we could help!
Thanks for you comment. While I found this article very helpful as a job seeker, it is a sad commentary on the state of corporate hiring today. Movies Movie Theaters! We are being dehumanized and reduced to ideas research automatons in the new world order system. This article is so very. useful. It really helped me a lot to understand what I was doing wrong. Just few. questions: 1) do you advise to mold my resume to match every single job I am.
applying to? 2) In situations where one does not possess all of the movie theaters required. skills of history investigations coursework a job posting, but one knows it will not take long to acquire them; how. do you suggest one should handle such situation? Ignore the movie theaters job post, and move. to the next one?
Any advice is greatly appreciated. Yes, your resume should always be tailored to the specific job post. As far as skills go, check out this page for more advice: https://resumegenius.com/resume/skills-section-writing-guide. Thanks for you comment. Dude seriously?? and consumer, here I thought even after knowing whatever was the demand of our beloved employer I wasn’t getting hired because I had no skill. On top of that I didn’t even know ATS existed, I always thought living human beings reject me :p. Bravo…. and lamentation.
In these days of big data, it’s laughable that job matching is still such an outrageously resource wasting game of hide and seek. Resumes and job postings are still crafted as for a single pieces of paper formatted to communicate all pertinent information in the 10 or so seconds of attention that conventional wisdom says they may receive. While an ATS attempts to tweak that Cretaceous period bottleneck, clearly there’s something missing. I’m considering starting a company that would provide the mirror analog of an ATS to job seekers for free, with the movie theaters ultimate goal of steering development of the cooperative, common have/need data platform that would evolve once the inevitable war between the two systems runs its course (I’d rather just skip to of advertising the common platform, but sometimes you’ve got to kick the mule). Movies Movie! Who’s with me? How should I handle the resume I post on job boards (e.g. Monster, Dice)? That resume can’t be tailored to a specific job description. Should I use keywords common to many of the job descriptions for my target position?
And then use a customized resume when I apply for a specific job? BINGO! Sounds like you know what you’re doing. Best of luck! Thanks for your help and for the great article. A Worn Path! Cheers! Thanks for the comment! You bring up a good point — it’s important to movies theaters create a resume that both gets through the ATS and appeals to behavior question paper hiring managers once it lands in theaters, their hands. Share Beat the Applicant Tracking Systems (ATS): How to Survive Resume Reading Robots Our code geeks and HR experts are proud to introduce our new Free Resume Builder software to help you land more interviews in today’s competitive job market. We provide HR-approved resume templates, built-in job description bullet point phrases to choose from, and easy export to MS Word and PDF.
See why. How to Modify and ideas research, Maximize your Resume Template. Need a resume template? Feel free to theaters download one, but be sure to a worn essay make small modifications to unlock your. Would You Rather Work for movies a Man or a Woman?
Do people still care whether they work for ocr a2 history a man or woman, or do most people simply look for a nice job. Resume Builder Comparison | Resume Genius vs. LinkedIn Labs. What are the movies theaters differences between the major online resume builders? Here's an in depth analysis of what. Resume Genius' builder, resources, advice and career tips are regularly featured on diversity experience essay, some of the world's leading online and offline publications including:
Our code geeks and HR experts are proud to introduce our new Free Resume Builder software to help you land more interviews in today's competitive job market. Theaters! HR-proven resume templates, built-in job description bullet point phrases to choose from, and easily export to path essay MS Word and PDF.
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The “Eumenides” of Aeschylus: Whole-Hearted Patriotism #038; Moderated Modernity. Aeschylus’ Eumenides is a play about an movies movie, institutional innovation and a paean to the goddess of the city. It is an account of the origin of path, Athens’ Supreme Court and a love poem to Athena and her people and places. This poet, however, loves for cause and with a thoughtful passion. Theaters. This people, the ”Attic folk,” schooled by their divinity, have the wisdom to domesticate dread and to diversity essay, innovate moderately.
My aim will be to flesh out and give precision to these notions, in theaters sum to delineate the a worn path characterization essay, idea of a reverent revolution. I ought to confess at movies theaters, the outset that I love this play, but that Greek tragedy, as a genre, is alien to me. In his youthful work, The Birth of Tragedy from the Spirit of arendt, Music (1870), Nietzsche propounds a stark opposition between Socratic and tragic culture. He writes: ”And now one must not hide from oneself what is theaters, hidden in the bosom of this Socratic culture: an optimism that deems itself limitless.” (Ch. 18) I recognize myself as a minor instantiation of the Socratism that Nietzsche fears and despises, this—I might say, American—optimism that wants to nullify deep tragedy by the light of reason and for a science neutralize fate by the devices of movies movie theaters, ingenuity. When I read a Greek drama, I immediately fall to considering how its “tragedy” could have been forestalled.
I think to myself: “What little bit of good sense could have circumvented this mess?” Moreover, I feel my way into the inwardness of the tragic heroines and heroes and find myself repelled by hannah, their super- and sub-human lack of what one might call life-intelligence. A few years ago I was having lunch with a colleague, Jonathan Badger, who had just lectured on Sophocles’ Antigone, and expressing to him my view of that tragic heroine as a teenage monster. He showed me that it was actually obtuse to regard her as a sixteen-year-old girl with an authority problem. She is not a fiercely rebellious teenager but a human token designed to be caught in movies an ultimate, unresolvable clash of fearfully fundamental forces, a cosmic rift—here the in American, one between family and city, between blood and politics. Tragedy, he was saying, is not about characters in situations but about movies theaters catalysts of sub-rational and super human clefts in a world in which no man, woman, or girl can do the right, the saving thing.
I saw his point. One reason, then, that this drama, the Eumenides, speaks to me lies in path what it is not. It is not a tragedy of the unresolvable impasse, of the unavoidable fatality. It is surely a drama, since drama is theaters, Greek for an eventful deed. But it is also a pragma, an behavior, affair practically handled, whose outcome is not all-round cleansing by devastation, but a future of good daily living. Socrates, who is, according to Nietzsche, the late-coming destroyer of deep-delving dark tragedy, was a boy of theaters, eleven when the Eumenides was first shown. Perhaps he was in the audience; I don’t know if children were allowed in, but he was a great theater-goer in consumer behavior question paper later life. This much can be said: His severe critique in the Republic (383B) of the tragedians, including Aeschylus, can’t stem from this play. For it is quite literally the apotheosis, which means the “deification,” of good sense.
Aeschylus invests this drama of sweet reason, of moderation triumphant, with exhilarating solemnity and participatory splendor. I mean that precisely. Whereas in most tragedies the movies, audience looks on and reacts, perhaps recoils, at the fate of kings and The Rise of advertising in American heroes, in this play all Athens is on stage: The spectators see themselves as part of the play. And whereas in most Greek tragedy the movies theaters, audience faces fearful and pitiful depths, in this play it is carried to joyful heights by an act of prudence that subverts tragedy. The final tone of the play is that of a city led by a goddess whose wisdom is touched with glory. Question Paper. So now I have broached the movies theaters, matter of the first part of my subtitle: Except for a brief prologue in Delphi, where lay the omphalos-stone, the navel of the world, the consumer behavior, Eumenides is movies theaters, set in investigations Athens, where, it will be shown, resides the world’s wisdom. In Delphi the movie theaters, scene is the sacred enclosure of Apollo’s temple; in Athens it is Athena’s temple on the High City, the Acropolis, and of advertising in American then on the rock facing the Acropolis, Ares’ Hill, the Areopagus.
This Athena, the Athena of the play, is Athena Polias, the City-Athena, the movie theaters, Democratic Athena. She is not, to for a paper, be sure, the protagonist of the drama, which is a choral band; she is, however, its chief individual actor. I don’t know if there are any other plays in movies theaters which a divinity is the sole main character; it is, to say the least, a remarkable moment in stagecraft. Athena is on stage together with her people, the “Attic folk,” the Athenians, first with a few, then with the whole town. These people are named from their city, and their city is named from its goddess.
But here is a wonderful fact: As in English, so in Greek, Athens is a plural: Athenai, “the Athenas.” I will return to this name, but now I want to point out ocr a2 investigations coursework, that no other great Greek city I can think of is thus named from its divinity-not Sparta, nor Corinth, nor Argos at the center, not Syracuse in the west or Miletus in the east of Greater Greece. The play is not, strange to say, named after its chief actor, its choral protagonist. In fact—a curious and significant fact—it is not named after anyone actually so called in the play. There are no “Eumenides” in theaters the Eumenides. Let me draw back here to place the play Eumenides in its trilogy, the Oresteia. The Agamemnon is the first of the three. It is a model tragedy in the familiar sense. The hero, just returned from the conquest of a worn path characterization, Troy, is killed by his wife Clytemnestra. Movies Theaters. She has her reasons; it is an open question whether she assassinates or executes him. I am reminded of behavior question paper, that fine movie, Witness for the Prosecution, which ends with the wife stabbing her iniquitous husband in the courtroom; Charles Laughton, playing the winning but unwitting Queen’s Counsel for movie theaters the defense of the guilty husband, who will now defend the wife, terms that deed not a murder but an execution.
The second play, the Libation Bearers, is a bridge drama. The exiled son of Clytemnestra and Agamemnon, Orestes, returns clandestinely to kill his mother. Again it is an open question, the arendt on violence, question for the final play, the movies theaters, Eumenides, whether his deed is polluting matricide or rectifying revenge. In this middle play, a band of creatures called the Erinyes appear and pursue Orestes as a mother-killer. Or rather they don’t appear, for although they are on stage, they are visible only to Orestes, “dark-gowned and twisted round with swarming snakes,” while to hannah arendt essay on violence, the women bearing the drink offerings they are mere “notions.” (doxai, L.B. Movies. 1049-51) Hence, some interpreters have thought that they are extrusions of Orestes’ guilty conscience. If so, they are matricidal-guilt phantasms only while the mother’s blood is essay, not yet dry. In the last play they have material lives and are plain to sight, to movie, hearing and even to smell—they exhale stink (Eu. Personal Experience Essay. 53).
The first two plays are set in Agamemnon’s kingdom, Mycenae, which in the fifth century was part of Argos. Now, in theaters the Eumenides, the scene shifts from Argos to Athens via Delphi. I observe here that this final play of the trilogy will have none of the practically prescriptive features Aristotle ascribes to tragedy in his Poetics, the very features the Agamemnon has to perfection: no colorably good human being of high station with a tragic flaw, no so-called unity of time and place, no audience purification by pity and ocr a2 fear. (Ch. 13, 5, 6) Instead the movie, play’s occasion, Orestes, is a small-gauged victim of circumstance, the protagonist divinities are beyond human flaw, the play includes the ocr a2 history investigations coursework, world as its venue and covers months or years in its time. It might even be said to movies movie theaters, qualify, before the event, Aristotle’s claim that poetry is more serious than history because the historian only tells what did happen while the poet tells what might happen. (Ch. Hannah On Violence. 9) Now this poet so fuses, in his mythopoetic drama, what did and movie what might happen that the opposition between history and poetry is in effect canceled. For the Eumenides is a revised story of an origin, of a founding, not a speculation about what might in general happen, but a story about what might in particular have happened. So, indeed does most imaginative writing, but this drama gives a mythopoetic account of the founding event of a real institution, the arendt on violence, Areopagus, the High Court of Athens. It is intended to give the meaning of the Court’s present. This is not factual history conjectured from movies movie, evidence by research but the dateless past recovered through a vision of its present consequences—not fact but nonetheless, or better, therefore, truth. Personal Experience. I shall try to explain myself later.
The present point is to emphasize how uncanonical this play is in its melding of movie, history and poetry—surely a new genre. And that brings me back to The Rise in American Cons, its name. Eumenides is the title by which the play was known in antiquity; there is some agreement that it was Aeschylus’ own. I’ll suppose that it was, since that leads to a thought-provoking and so perhaps intended consequence. The play-going city, virtually every male citizen and resident, knew well who these Eumenides were. They had a sanctuary at the “Hill,” in Greek, Colonus, a mile north of Athens-center. It was the place where in Sophocles’ Oedipus at Colonus the patricide Oedipus will be said to theaters, have found refuge and release, as will the matricide Orestes on Ares’ Rock, the Areopagus. These divinities were also known to have a more central home, in the cleft beneath the Areopagus, facing northeast toward the Acropolis. And they were called variously the Awe-inspiring, the August Ones.
People were evidently mindful of the literal meaning of Eumenides, an path, adjective formed from eu, “well,” and menos, “disposition.” They were the Well-disposed Ones; as Sophocles will say: “because they receive the theaters, suppliant out of their well-disposed hearts” (O.C. 11. Good Ideas. 39, 89, 486). These gracious goddesses are thought of with respectful and even with affectionate trust. I will venture a comparison. Although refugees like Oedipus and Orestes aren’t exactly “huddled masses,” yet I am reminded of Emma Lazarus’s poem inscribed on the main entrance of the Statue of Liberty, which announces that she receives those “huddled masses yearning to breathe free.” Just so the movies, Eumenides represent the capacious, burden-removing and, I might say, diversity-welcoming aspect of Athena’s city—as we will see. Now these well-disposed ones were on path the playbill, or whatever apprised the theatergoer of the dramatic fare for the day. And behold! the creatures that form both the chorus and the character confronting the protagonist have the very opposite name. They are called the Erinyes, and sometimes speak as one in the first person singular through their leader, one Erinys. (e.g.
951) They too don’t act as does the usual tragic chorus; for example, the old burghers of Argos in the Agamemnon are sidelined to movies movie, ineffectual, mildly wise commentary. But these are a fierce lot. Everyone knew them as well. In English they are called the “Furies.” Their Greek name may derive from eris, “strife,” but the facts are lost in the mists of age. The Eumenides appear as a trinity, an august threesome, but the age-old Erinyes are a band, better a pack, of twelve. They are horror incarnate, frightful and disgusting, dressed darkly in a worn characterization rags, with rheumy eyes, foul breath and snakes through their hair. Theaters. Apollo’s Pythian priestess, who opens, the play is path, soon seen running out on all fours from their sight, which is Gorgon-like, but even more, bitch-like. Movie Theaters. When we first see them they are asleep, panting and slobbering in behavior question their dream of hunting their victim down: Catch, catch, catch-mark him! (130) The oldest manuscript of the play that we have, the Medicean Codex of the later tenth century, includes a life of Aeschylus which claims that he did yet another unheard-of thing: By letting the Erinyes “loose without order into the orchestra, he so scared the people that infants expired and women miscarried.” I don’t think infants and pregnant women were in movie theaters fact in consumer behavior question the theater, but as I imagine it, the effect was—how shall I put it?—participatory. The business of the Furies was the opposite of the releasing Eumenides. They held the movies theaters, world bound in the constraints of order and justice.
In the Iliad they check Achilles’ grieving horse when he bursts, unnaturally, into human speech. (19.418) Heracleitus says that “the Sun will not overstep its measures; if he doesn’t [control himself], the Erinyes, the helpers of justice, will rout him out.” (Fr. 94) Clearly these dreaded beings guard the diversity experience essay, rightful courses of movies theaters, nature. Such natural order is called justice, dike. These guardians of dike are born of ocr a2, Earth in Hesiod’s Theogony (184) and of Night in Aeschylus’ Eumenides, of obscure darkness in either case. As the action developed, the spectators began to understand that they were witnessing a terrific conversion: The Erinyes were turning before their eyes into movies movie theaters Eumenides. They were transformed in bearing and garb—most significantly, as we will see—but also in number, although the play does not say so.
Had I been the choregos, the producer, of the play I would have had the transformation include the fading away of the twelve-pack Erinyes into the threesome Eumenides; the Eumenides would in ideas for a fact, make a terrific movie script. However it was staged, it was a grand transfiguration—except that the new name was never uttered. Why not? Something near enough is said of them in the play: The reformed Erinyes are given the adjective euphrones, “well (or kindly)-minded.” These frightening faces, Athena says to her citizens, will be of great profit to you, if you, being kindly-minded, honor them, the Kindly-minded. (euphronas euphrones, 992) As I imagine it, all of Athens, sitting there in enthralled solemnity, was meant to movies movie, experience a dawning recognition: “But these transfigured horrors are our Kindly Ones, our Well-disposed deities, our Eumenides, that live on the other side of the hill not far from this theater!” By the end of on violence, Aeschylus’ century, the name Eumenides is simply a euphemism for theaters Erinyes—very likely Aeschylus’ doing, but not in his spirit. For in personal diversity experience essay his play, the Erinyes really do disappear and are transformed into the Eumenides. Athena and her people know how to turn the dreadful females into the Gracious Ladies, how to make the horrors holy. That is Aeschylus’ trenchant patriotism: to see Athens as a sovereignly assimilative power, her goddess as supremely, grandly ingenious—and something else, something beyond that I will consider later; it has to do with the fact that the Eumenides, if no longer horrible, are terrible still: the frightening faces. The learned name for any causal account, and thus for movies movie theaters Aeschylus’ mythical history, is characterization essay, aetiology, from aitia, a “reason or cause,” and logos, a “rational account.” Temporal aetiology accounts for present situations and institutions through their beginning. Primal times are explanatory times; to recall them is to recall the present to movie, its sense of itself. Aeschylean aetiology, however, is not done by consumer, what we call archaeology or history, the unearthing of buried artifacts or the researching of old documents.
It is rather the projection backward into the timeless past of an originary vision, of the origin as it appears now to movies, the mytho-poetic sight. Nowadays mythmaking has a bad name, especially among professional historians. It is an accusation. For example, there is a well-known book entitled Inventing America. Research Paper.  In its Prologue, the author, Gary Wills, analyzes Lincoln’s “Gettysburg Address” of 1863. “Well, now,” he says, “that is a very nice myth,” a “useful falsehood,” and a “dangerous thing.” It is a reprehensible piece because, among other things, in the exalted biblical language of “four score and seven years ago” Lincoln traces the birth of the nation back to 1776 and so to the Declaration of Independence and to its self-evident truth “that all men are created equal.” Wills, however, thinks he knows that this date of movies movie, origin is deceitfully false. It was not until the final ratification of the Constitution in 1789 that we became a nation, and thus our conception was not in an idea but in all sorts of practical manipulations, messy and even unholy. Essay On Violence. What is more, Wills likes better that view of our country which sees it as the theaters, product of practical compromises than that which envisions its birth in a whole-hearted ideal because such ideals are never “straight-minded,” to borrow a word from the Eumenides. They always have, he thinks, a subtly pernicious hidden agenda, in Lincoln’s case the establishment of a “civil religion,” which made us falsely feel that we could save and redeem the hannah, world. I cite this book only to sharpen by contrast the contours of both Aeschylus’ and Lincoln’s kind of patriotism, which does not consign its country’s present to ever-disputable, secular historical fact, but derives it from a primal act that contains timeless truth. Such origin-myths given a definite temporal dimension to movies movie, presently active principles; mythopoetry is the art of putting a past event behind the present situation. This is truth-telling of a high order and has nothing in common with the falsification of ocr a2 history investigations coursework, facts—which Aeschylus did not have in any case. I doubt a mean-minded deceiver could produce a founding drama of such grandeur.
It is movie theaters, time to diversity, say what, in general, I take to be the movies movie theaters, difference between falsified fact and mythologized aetiology and wherein the deep truth of the latter lies. Georges Clemenceau once said, when asked how historians might judge German guilt for World War I: “This I do not know. But I know for in American Cons certain that they will not say that Belgium invaded Germany.” For the reverse is a brute fact and movies movie theaters its denial a brute falsification. On the other hand, an idealized account of the originating event, the ideal founding of a current institution—especially if it is endangered—is not a subversion of fact, but a revelation of truth; namely, of the true meaning and the ideal function deeply embedded in that institution, as the diversity experience essay, civic poet discerns it. It is theaters, not a refashioning of the historical past for the benefit of the present but a penetration into the present for the recovery of the primordial plan. How, in particular, can we tell feckless disregard of facts and mendacious skewing of history—in short, shameless propaganda—from sound-minded mythopoiesis? Strangely enough, language usually tells. Aeschylus’ Greek seems to me an essential element of his patriotic passion.
It is as far as any diction can well be from consumer, what will one day be the crude formulas of propaganda; it has the ring of truth. The marvel is that any of his Athenians understood him, for his language is so high and movie theaters subtle, so grand and flexible, so archaic and neologistic, so bold and complex that most of us who suppose that we knew at least a little Greek have to puzzle the text out laboriously with recourse to every aid available. I will give a few examples of his word-making, poetry practiced on the very elements of language: bdelyktropoi, “of a loathsome turn” (52); palaiopaides, “elderchildren” (69); dysodopai pala, “of-a-rough-and-rocky-road” (387); brotoskopon “man-watching.” (499) All these words are so new and sound so ancient; this diction is magnificent without being grandiloquent—though, to be sure, the reverently irreverent Aristophanes displays Aeschylus and Euripides in Hades hurling eleven-syllable masses of “tight-riveted words” at each other. (Frogs, 824) The Athenian audience, at any rate, loved it in all its stiffness and personal diversity experience essay inventiveness, and they seem to have caught the theaters, hyper-intricate choral meters and savored the gorgeous staging. For the Oresteia won first prize. Aeschylus wrote between seventy and ninety plays—we only have seven—and won first prize twenty-eight times; some of these were posthumous, since after his death the people of Athens decreed funds toward the revival of his plays. The Eumenides was first performed in 458 BCE, and it was rooted in the present of that year. There are at least four references to the current situation. To begin with, when Athena first appears she says that she has heard Orestes’ call from far-off Troyland, where she had been taking control of territory assigned to her by the Greek victors.
Not only is she presenting herself as a divinity with far-flung possessions, but to the Athenian audience, she must have been heard, in these early days of the Delian League that would turn into Athens’ empire, as asserting dominion over the cities of the Troad, a claim Athens was then in fact pursuing. Again, when the Erinyes finally accept Attic domicile they are re-robed onstage in “scarlet-dyed vestments.” (phoenikoba ptois… esthemasi, 1028) As they had been promised, they become “fellow-dwellers,” metoikoi in Greek. (869, 1011) These “metics,” resident foreigners, something like our green-card holders, were just at this time being recognized as of major importance to Attic prosperity. They participated in ocr a2 investigations coursework the great civic processions dressed in scarlet robes. Aeschylus is expressing the inclusiveness of Athena Polias’s city, or, put less amiably, he is endorsing the expansionism of post-Persian Athens. A third topical reference lies in theaters Orestes’ grateful oath, pledging Argos to perpetual peace and ocr a2 history investigations alliance with Athens (764), a matter of considerable current importance to a city embarking on just that audaciously expansive foreign policy. The fourth case I will mention concerns the Areopagus High Court, whose founding is the movies, central event of the Eumenides. The old oligarchic Areopagus Council, the historical court, had recently been stripped of its expansive powers, powers of of advertising, law-enforcement, punishment, censorship. In the democratic reform that occurred just a few years before the production of the play (463-61 BCE), these had devolved on popular institutions.
Aeschylus, evidently a moderate democrat, here appears to endorse this reduction of the court’s brief to cases of murder, since he represents Athena as instituting it for just that purpose. Aeschylus himself was deeply engaged in the city’s life, and it was a factor in his fame. The year after winning first prize for movies the Oresteia, in his late sixties, he left Athens for Sicily, probably to execute dramatic commissions, and died there soon after at seventy. The people of diversity experience, Gela, where he was buried, set him a grave marker with an inscription calling him Athens’ pride and noting that he had fought at movies, Marathon. But he had fought also at Salamis, the arendt essay, other of Athens’ two great single-handed battles against movies movie the Persian invaders. At Salamis the Athenians fought in ships under the view of good ideas science, Xerxes the King. Eight years later, in 472, a very young Pericles was the producer of Aeschylus’ Persians, which takes place in Xerxes’ court at Susa after the Salaminian defeat and movie is the grandest case of a worn path, empathy for a vanquished enemy that I know of.
The time of his life as a whole and of this, his last recorded winning play, was altogether the high time of his city. When he was five years old, the Pisistratid tyranny was overthrown in favor of the Athenian democracy to which we might well be said ultimately to owe our own political being. When he wrote the movie theaters, Oresteia, the Persians had been ejected from Greece for The Rise of advertising over two decades, and the perils of movie theaters, Attic imperialism were looming, though yet avoidable. When Aeschylus left Athens in hannah arendt 457, the movie theaters, rebuilding of the mighty old temple of path essay, Athena Parthenos, destroyed by the Persian occupiers of the Acropolis and rebuilt with tribute money paid by Athens’ client states to the Delian League, money meant to protect them from the Persians, and in fact soon to be stolen by the Athenians—this ominous and glorious Periclean project was yet ten years off. Movies Movie. So also was the restoration after the Persian sack of the Erechtheum, Athena Polias’s house, being talked of but very far from history coursework, even being begun. This precinct, alluded to in the play (855), was Athena Polias’s special seat, where was housed her primeval statue of olive wood, the one that will play a role in the drama, the one that miraculously survived the Persian burning of the High City.
And it was here that the testimonials of the contest between her and Poseidon for the possession of Athens were shown, a salt pool struck from the rock by theaters, the sea god and by it an behavior, olive tree sprung up from the theaters, rock at the behest of the city goddess. It may be that the arendt on violence, olive tree was a witness to Athena’s trumping wit, which won her the city: A salt pool is put to real use as brine in which olives are marinated to make them edible. As I imagine it, Aeschylus felt his city to be at a cresting time, with some depths of danger and more heights of hope looming. 458 BCE was a time of crisis for Athens —krisis in the Greek sense, a time for judgment when a provident poet-lover of movie, his country would be inspired to foresee the glories and driven to forfend the of advertising, disasters of the future. I want to movies movie theaters, observe here parenthetically that, while even a sketchy knowledge of current events—sketchy, that is, compared to good science research, what any Athenian spectator would know as a matter of course—could serve to make the play’s strong footing in the real present more pointed, a perceptive reader is likely to sense this too, albeit impressionistically. The play speaks for itself, as do all great works.
Besides the astonishing language and the expansive spirit of the drama, the town folk who sat there took in astonishing new interpretations of the world they knew: the origin of the Delphic oracle as well as of the names both of the Areopagus and of the Eumenides, the movie, comparative stature of their goddess and Delphi’s Apollo, the origin of their claims on Argos’s loyalty. But again and The Rise Cons again, and above all, they saw the magisterial management of their city’s affairs by their goddess, the maternal virgin goddess, the peaceable warrior goddess, flexible and firm, the movies, child close to her Father who is the in American, highest, the theaters, universal divinity. I imagine them, as they participated in this climactic drama, infected with Aeschylus’ kind of diversity, patriotism. There are, as I said, different patriotisms, unsound and sound. There is movie theaters, “chauvinism,” bigotry and exclusiveness, born of poverty of hannah arendt, spirit and clumsy anger. Theaters. And then there is hannah arendt on violence, a liberal patriotism based on moral consanguinity. Movies Theaters. Thus Lincoln says that those who adopt the moral principle of “that old Declaration of Independence” can claim to be “blood of the blood.” And there is also a community of customs and friendly feeling. Behavior Question Paper. And last but not least there is the land itself; the hills surrounding the city of Athens are sung as “violet-crowned” (iostephanoi) and the continent of America is sung for its “purple mountains’ majesty.” But first and above all there is a founding wisdom. Thus the third stanza of ”America the Beautiful” qualifies patriotism:
America, America, God mend thine every flaw, Confirm thy good in brotherhood, thy liberty in law! Thus, too, Aeschylus’ patriotism is first and finally focused on movies movie his citizens’ moral virtue: They are “sound-minded [or in the usual translation ‘moderate’] in good time” (sophronountes en chronoi, 1000); this is the most exalted praise their new co-dwellers know to arendt essay on violence, give Athena’s people. With this quotation I come to the drama itself as an exemplar of the second part of my subtitle: “Modernity” means literally “just-nowness,” from Latin modo, “just now.” This literal meaning suggests one defining aspect of modernity—there are others—that fits the Aeschylean re-visioning of Athens’ goddess. In this sense, modernity is an theaters, ever-recurrent moment in human history; it is the ocr a2 investigations, mode of movies movie theaters, rationality practically applied. A given situation goes from onerous to a worn path, insupportable and movies movie theaters human ingenuity finds a—usually radical—device for bettering man’s estate in the here and now, an research, impatiently swift solution; this modernizing reason is bent on rectifying the condition just now. It doesn’t care what cosmic balances, what ancient restraints, what natural bonds may be disturbed, disrupted, abrogated. Such enlightened reason is bright-eyed and light-headed in its universalizing impulse and in its disrespect for the ancient obstacles.
It is the impatient, with old naive Nature, and wants to supplant her with new, sophisticated Artifice. These abstractions are, I think, embodied in the two contending divinities of Aeschylus’ play. The earlier part shows how Athena aids the new rationality, represented by Apollo, in winning its case against the old justice; the later part shows how Athena moderates this dangerous victory by inviting the movie theaters, old powers into history investigations coursework her city and theaters teaching her people how to be soundly rational by respecting the claims of a primeval cosmic equipoise, awful though it may be in aspect. The Eumenides, being the last drama of a trilogy, supervenes on a long chain of dramatic events. To recount it in skeletal form: Before the hannah arendt essay on violence, Oresteia begins, Atreus, Agamemnon’s father, has killed Thyestes’ sons and served their flesh to movies, their father at personal, a banquet. Agamemnon himself has sacrificed his and Clytemnestra’s daughter to movies movie theaters, speed on the Greek expedition to Troy. In the Agamemnon, his wife, Clytemnestra, and Aegistheus, a surviving son of Thyestes, have killed Agamemnon on his victorious return from Troy, each for good ideas for a science paper a compelling reason. In the Libation Bearers, Orestes, Clytemnestra’s and movie Agamemnon’s son, has killed her and Aegistheus to avenge his father and preserve his own succession. Now in the Eumenides, Clytemnestra’s ghost is clamoring for science research paper Orestes’ death as a matricide.
That last killing would be the movies movie, end of the Atreides, the House of Atreus, and the vacating of the curse on characterization essay it for Atreus’s deed. Thyestes’ progeny had already been erased. The two cursed lineages would have ceased, for Orestes’ sister, Electra, is movies, childless. Nature would have evacuated the evil and research the cosmic equipoise would be regained. This is natural justice, the justice of the Erinyes, also called the “Curses” (Arai ) who are naively furious justice: Why should a killer, especially a mother-killer, live? It is against the logic, the theaters, measures, of consumer paper, nature. Ordinary mortals, on the other hand, tend to be of two minds. They have tit-for-tat justice in their bones, but they also ask, as does the chorus at the end of the Libation Bearers : “When will there be rest from, when will there be a stop to the fury of this blind ruin?” (ate, 1076) They long for an imposed intervention, a forcible cut-off that ends the natural course, the movies theaters, logical working out of the accursed drama. This natural justice has the name dike, or as its enforcers sometimes say: eytheia dike, “straight justice.” (312, 436) The Erinyes think of themselves as straight-justice-dispensing.
The word dike with its derivatives is the dominating sound of the play: dikaios, endikos, dikastes, dikephoros, orthodikaion, adikein—the text bristles with it, and the ear rings with it. This dike, which the Erinyes claim as their own, has a thoroughly practical, concrete use. Good. It means old custom and usage; it will henceforth mean the actual lawsuit brought and the effective judgment rendered; but above all, it means the order and right of things. The noun dike seems to be anciently connected with the verb deiknymi, “show, indicate.” The Erinyes say: “Come, let us join in the dance since it seems right to display our hateful muse,” for their office is to do “straight justice,” justice horrid but perspicuous. (307) The Erinyes’ dike, the justice of movie theaters, reciprocity, a life for a life, is personal diversity essay, plainly indicated by brute fact, particularly when blood relations are involved. Dike, the concrete justice of the Erinyes, is therefore not dikaiosyne, Just-ness, the thought-invoking object of inquiry mooted in Plato’s Republic. Movies Movie Theaters. The question behind the play is indeed “What is justice?,” but it is engaged by The Rise, the parties to a trial and by movie, judicial decisions. The accuser is dead Clytemnestra, appearing as a specter (eidolon), the defendant her live son Orestes, the venue the Areopagus court of ten juror-judges with Athena as arbiter; the advocate for Clytemnestra is the question paper, band of movies movie, Erinyes, for ideas research paper Orestes, Delphic Apollo.
So the theaters, play begins in Delphi and right away there is investigations, revisionist mythmaking, Aeschylean aetiology. The Pythia, the priestess of Apollo’s oracle, comes out of the temple just to tell the story of Apollo’s taking possession of Delphi. All the world knew that it had been a violent business, but the Pythia paints the picture of a smooth, unforced inheritance. In this tale, Apollo is a welcome civilizing god, the “prophet” of Zeus. He appears as a divinity of easy—no, facile—dominion, a god whose people have been trained to movies, suppress the darker circumstances of his installation in Delphi. The priestess goes back in and soon runs out again, totally freaked out, as our students would say, by the creatures that sit inside on arendt on violence stools, asleep, slobbering and theaters snoring.
She exits. The temple doors are now open and we see them: the Erinyes. Apollo comes on the scene with Orestes, to whom he promises protection from these Furies. He tells him to flee from them over land, sea, and characterization islands, but finally to go as a suppliant to Pallas Athena’s city for “relief from his pains.” He ends: “For I persuaded you to kill the mother-body.” (84) Orestes sets out on his long expiatory flight. Clytemnestra’s specter appears and upbraids the movies, sleeping Erinyes for neglecting their pursuit.
They wake up to dance and sing the history investigations, first of several choruses that have a terrible kind of dignity and induce a repelled sort of pity. Movie. They sing to Apollo: “You, the young male, have ridden down the old female divinities” (daimonas, 150) by the respect you show for a godless man. “This,” they sing, “is what the younger gods do who exercise power altogether beyond Justice.” (162) Apollo responds by reviling them. Personal. They then bandy words, a foretaste of the arguments they will mount before the Areopagus, where both will claim to have justice on their side. It is a long time later. We are now in Athens, on the Acropolis. Orestes has arrived to sit, as he had been ordered by Apollo, as a suppliant with his arms around the old olive wood statue of Athena, the one kept in the Erechtheum. Movie. He insists that he is no longer polluted because Apollo has purified him and that, moreover, his guilt has been blunted by time and good for a paper travel. The Erinyes are still in hot pursuit. When they see him clasping the statue, they sing out theaters, a horrible song: They will suck red clots of blood from his limbs in requital for mother-blood, “Everyone receives the ocr a2 history investigations, justice he deserves….” Hades “oversees all in his recording-tablet of a mind.” What they are saying is that some deeds are un-erasable: “Mother’s blood, once spilled on the ground, is scarcely recoverable,” even if retribution has been exacted. (261 ff.) Orestes claims, on theaters the contrary, to have worked off his guilt through travel and “time that, growing old along with everything, purifies it.” (286) And now, the The Rise of advertising in American Cons, lead-Erinys announces the “Binding-Hymn.” It is movie, a furious, long, stamping dance, an incantation for enchaining the mind. (370, 332) It asserts the Furies’ power and consumer behavior paper right to pursue even into Hades those who commit inexpiable crimes of blood.
Athena flies in, answering Orestes’ call. Aeschylus was admired for his staging; she surely arrives, a dea ex machina, by movies movie, some cranelike device. But neither machines nor words make the wonder of a worn path characterization, this moment; it is rather the movies movie theaters, spectacle itself: Here is Athena’s old bretas, the olive bole that Orestes is embracing. Here is the possibly winged (1001) goddess herself, the history investigations, divinity on which Orestes has called. He sees her, the movies movie theaters, spectators see her, the splendid deity vis-a-vis her presumably primitively carved, homely statue. How could the ocr a2 investigations coursework, sight of both together help but lead to reverent reflection? The city was full of statuary Athenas. Theaters. The Athenian spectators must think: We can reach her through these images; when we call her she will hear and come. Investigations Coursework. But they must, at movies movie, the same time, feel reminded that their wooden board, their marble statues, and their clay statuettes are just that: images, not the goddess herself. And that is exactly what distinguishes their worship from idolatry.
For an idol is to the worshiper not an ideas for a paper, image, but the spirit itself, prayed to, not through. These Athenians, presented by their first playwright with the wooden token and movies movie the real goddess face to arendt, face, were being invited—whether they followed the call or not—to think about the patent defectiveness and the mysterious power of those increasingly perfect representational artifacts that their normally invisible goddess was eliciting from them. Indeed, thoughtful spectators might realize—once the magic of the performance had faded—that the movies theaters, “living” goddess who had been juxtaposed onstage to her venerably featureless effigy was herself a piece of Aeschylean poetry and stagecraft. Then they might wonder whether her innovative rationality, combined with her preservative respect for the—henceforth—ancient ways she had herself subverted, were in fact the attributes of a poet’s made image or the revelation of a divine revolution: Was the poet interposing himself between the citizens and their goddess, or was he their conduit to her? Athena descends and notices the Furies. Apollo had reviled them and ocr a2 investigations driven them from his temple: “Out, I am ordering you….You belong where there are judgments and butcheries of head-lopping and theaters eye-gouging, and where the green youth of boys is ruined by The Rise of advertising, destruction of seed” (186)—Aeschylean language for castration, high poetry to render the immoderate tone of the self-righteous young god. Here is Athena’s reception for movies movie theaters them.
She says that she is good ideas for a science, not afraid of, but she is amazed by these creatures, which are unlike any other race, not seen among gods or comparable to humans in shape. Then she catches herself: “But to speak ill of someone close by us because he is misshaped does not approach what is just…” (413) The Erinyes introduce themselves. They are called the “Curses,” and are the children of Night who live beneath the earth. They begin the movie theaters, argument.
Athena says: “I would understand [all this], if someone would give a perspicuous account.” (420) Athena wants to hear from both sides in lucid speech. She admonishes the Furies not to path, insist on formalisms. Movies Movie Theaters. The Furies begin to trust her and entrust their case to her decision. So does Orestes. A Worn Path. The gist of the case is, on the Furies’ side, a rationally connected double demand: that a mother-killer should be hunted down even into Hades and that their own just prerogative to execute this charge should not be abrogated. On Orestes’ side, too, there is movies theaters, a double argument, which is not so rationally coherent, though Orestes has had a “smart teacher” (sophos didaskalos, 279) in Apollo. He admits to the deed, but claims that it was just to requite his father’s murder, and essay he also offers the movies movie theaters, excuse that Apollo forced him to it with threats of “stinging pain to coursework, the heart.” (466)
Once again something simply amazing happens. Athena, the theaters, daughter of the god of gods, puts herself modestly on in American the level of mortals. She says: “The affair is too great for some mortal to think he can adjudicate it…Nor is it right for me to movies movie, decide a judicial case concerned with a killing so acutely anger-filled.” On the a worn essay, one hand there is before them a purified suppliant, on the other, the undeniable charge of the Furies who will, moreover, should they lose the case, poison the ground for ever. So Athena also has two agendas: a fair verdict and the protection of Attic soil. She issues an ordinance “for all time.” (484) Justice concerning killings will henceforth be turned over to judges . Dike will go to dikastai; Justice is turned over to juries; the movies, natural course of just requital is turned into a case-at-law, and personal diversity experience the avenging Erinyes are to theaters, plead before a court.
Acquittal or punishment ceases to be a private and now becomes a public affair. A British Lord Chief Justice said: “One…object of punishment is to prevent…the victims of crime from taking matters into their own hands.” Athena’s institution of the high court of Athens is a revolution in human affairs, the kind of event I call modern, or, better, modernizing. It means the overthrow of ancient ways in the interest of a reasonable procedure, a crucial characteristic of which is the ocr a2 coursework, growth of public power, the movies movie theaters, expansion of what in our quintessentially “modern times,” the behavior question paper, times in which modernity becomes the established mode, is called the state. But what if the movies theaters, accuser loses the case, if a guilty defendant escapes punishment on technicalities and the righteously aggrieved party is good ideas for a science paper, left helplessly furious? What if the humane, exculpatory rationality of the human court leaves the world out of kilter? We will see how Athena mitigates this inevitable consequence of theaters, institutional justice, the conversion of investigations, capital Justice as a power into lower-case justice as a process. But first there is that initial, that mythic trial before the Areopagus.
Athena goes off to select “the best [material, ta beltata] among my townspeople.” (487) I don’t think she means the aristocrats or oligarchs. Aeschylus’ locution betokens that the juror-judges are just the fittest citizens. Aeschylus, recall, is movie, a defender of Athenian democracy. While she is gone, the Eumenides sing again, a song of for a paper, despair and threatened withdrawal: “Now come the overturnings, the revolutions (katastrophai ), wreaked by new ordinances—if the hurtful justice of this mother-killer is to movie theaters, dominate.” (490) “I shall”—they sing as one—”permit every violent ruin” (moron). Personal Diversity Experience Essay. Let no one cry out movies movie, ‘O Justice! 0 thrones of the Erinyes!’ …since the House of Justice has indeed collapsed.” (511) And then in the middle of their lamenting threats they make a demand that justifies my picture of them as intended by path essay, Aeschylus to be the representatives of the aboriginal justice of equilibrium: Approve neither the anarchic life.
nor the tyrannized one… God grants the power to everything middling. I speak the proportionate word. Theaters. (symmetron epos, 531) Athena, who was not there to a worn path characterization, hear them, will—wonderfully—repeat their words. But first the movies, trial. The scene seems to have shifted to the chambers of the Areopagus court.
Trumpets sound; the arendt essay, people stream in; the movies movie, court sits. The Eumenides, advocates for Clytemnestra, offer a simple case: He admits he did it. The opposition’s claim that Zeus, Zeus who overcame his own father, has more regard for a father’s than a mother’s death is implausible. Moreover, Clytemnestra, in experience killing her spouse, did not kill a blood relation, a mitigating circumstance for her. Movie. Orestes intimates right away that neither is he his mother’s blood relation. Apollo now speaks for consumer behavior question paper Orestes. He again proceeds violently: “You altogether hateful beasts, hated by the gods…” (644) He follows Orestes’ line: “The mother so-called is not the child’s begetter.” (658) He goes on to speak as a scientist to movies movie, common folk, dispensing fancy then-modern biology, according to which the mother has no part in path the embryo except that of a nurse. He cunningly mentions that the male can even engender entirely without a mother.
He cites the daughter of Zeus, Athena herself, as a case. It is a smart lawyer’s move, but once again, disregardful of the Erinyes. For Aeschylus has-against tradition-made them the children of Night, and she, Hesiod tells us, can bear “having slept with no one” (Birth of the Gods, 213); the movies movie theaters, Furies themselves (probably) have no father. I interrupt the account here to point to a curious circumstance that must have crept into every spectator’s mind: Apollo’s argument, which in fact abolishes mothers, insofar as they are nothing but carrying wombs, is investigations coursework, cleverly made in a drama that is enacted, except for Clytemnestra appearing as a specter and the Amazons appearing in a story, mainly by movies movie, childless females whose status is above, below, beyond natural womanhood: the Pythian priestesses who open the play, the Erinyes who are transformed in its course, the consecrated guardians of personal diversity experience essay, Athena’s statue who lead the exit march. Above them all thrones Athena Parthenos, the Virgin. (999) Why? Well, first this is a sacral drama, and movie theaters the great Olympians are served by virgins. But more significantly, the diversity essay, two protagonists, female-gendered but non-bearing, are, on the one hand, male-like powers, the one of fiercely spirited engagement, the other of theaters, majestically large objectivity. Yet, on the other hand, both are capable of consumer behavior question paper, kindly care, the Eumenides eventually by Athena’s unique persuasiveness, she herself always as the movie theaters, city goddess who cherishes (911) her own people as with a supernatural maternity. From this dual disposition both reach a middle wisdom, the moderation that they will soon be revealed to have in common. The pleading is characterization, done.
Athena addresses her citizens while the court deliberates. She tells them yet another revisionist foundation myth—more aetiology. Movies Movie. The place where the court of juror-judges; that will exist for ever, is deciding its first murder case, the kind for which she has instituted it, is The Rise, called the Areopagus, ”Ares’ Rock,” because there the army of Amazons from Asia that attacked Athens in the time of movies movie, Theseus sacrificed to Ares. (683) Again, all the world knew the current explanation of the name, which was that Ares, having killed a son of hannah on violence, Poseidon for trying to rape his daughter, was tried on this hill for murder by a jury of gods. I assume that he was acquitted, as Orestes will be. Why this new tale? One notion is that Aeschylus wants Orestes’ trial to movies movie theaters, be the initial case of the new Areopagus court. But if the earliest court consisted of the twelve Olympian gods, Athena’s institution of a mortal court of ten would still be original enough, and if Ares had indeed been acquitted, the precedent might be welcome. I think Aeschylus revises the naming event of this court’s home to remind his audience of the more recent Asian army that had entered the city just over three decades ago, that of the Persians. Then Athens had ejected a male invasion—they regarded the Persians as effeminate—as once before in mythical times it had defeated a female invasion. Now, in the dramatic time of the play, it must cope with another female band not of invaders but of infernal plaintiffs about to be outraged: Those Amazonian warrior women were easier to deal with than these furious female deities.
She uses the pause in personal experience the drama to make a consequent point: Reverence this Areopagus! Don’t muck up—she uses strong language—your own bright water. Movie. Their own inborn fear and awe will keep the town’s men from doing injustice, as long as “the citizens themselves don’t make innovations in the laws.” (epikainonton nomous, 693) While in the course of instituting novelties, she warns her people against innovation! And then, in the most significant moment of the play, she goes on to say exactly what the Eumenides have said in personal diversity experience her absence: “I counsel the caring townsmen to revere neither the anarchic nor the tyrannized way, and not to throw all that is dreadful out of the city. For who among mortals, fearing nothing, is yet imbued with justice?” (697).
She and the Furies together seem to be doing a long-term end-run around Apollo, although she is about to help him win his current case. Athena’s political wisdom is ingeniously and complexly deep, as we will see. After the jurors have voted and before the votes are counted, Athena makes a consequence-fraught announcement. Movies Movie. If the vote is tied, Orestes will be acquitted because her pebble is going into the urn for diversity experience acquittal. Her reason is stupefyingly simple and unprincipled: “I support everything male—except for the matter of getting married [here speaks the virgin goddess], and movie I am very much my Father’s child.” (736) This is another remarkable moment.
Her refusal to invent a principle-preserving sophism is positively refreshing here. After all, she has a deeper reason that she is behavior, wise not to articulate before the Furies: to stop the descent of movies, killing, to put an end to this murderous lineage without actually eradicating it. And yet she knows that this is a dangerous circumvention of the dread and awe that irredeemable blood should inspire. And that is, as ever, only one of two wise intentions. The other is to establish by precedence a permanent ordinance: the experience, judicial compromise that will resolve an insoluble situation. The equality of votes, five to movie theaters, five, which she surely foresees—or so I imagine—betokens the inability of human beings to arendt essay on violence, resolve this matter by themselves, to be of one dispositive mind, any more than the deity could deal with it alone. She knows that she is to be the tie-breaker; she must supply the casting vote, and it is for ever—and still for us—in favor of acquittal.
When humans are equally divided in mind, civilization says: Let him go. Movies. Give him the benefit of the doubt. A Worn Path Essay. And ever after, in the goddess’s absence, her tie breaking vote, cast for clemency, will be present in every court, and so will she. (I don’t say “cast for mercy” because this is pagan moderation, civilized leniency, not Christian forgiveness.) Furthermore, Athena’ s rule tends toward slowing innovation in movies movie deliberative assemblies: Positive action is defeated by a tie. So Orestes is acquitted, and ideas science he, full of gratitude and promises for an Argive alliance, quits the scene with his divine advocate. Athena is left with her assembled people—and the absolutely infuriated Furies. They dance again and become, as people do, ominously repetitive but also darkly beautiful with rage. They again speak as one, fixated on the locution of being ridden down by the younger gods and iterating their lament: I am she who is unhonored—she who is wretched,
I emit poison, my heart’s poison in theaters payment for pain. in unbearable drops on the ground. (780, 810) And again the goddess does something astonishing, something no other divinity, I imagine, would or could attempt and accomplish: She undertakes to calm the Furies, to gentle them. She speaks to them between their laments. Hannah Arendt On Violence. She tells them they are not unhonored nor defeated, for the votes were equal and Zeus himself kept Orestes from harm. This is tact—half the jurors, she points out, were for them; moreover, not their antagonist Apollo, but the god of gods himself ordered the outcome. Here she gently reminds all of her closeness to Zeus; she alone knows the theaters, keys to the chamber where his thunderbolt is sealed. (827) It is the hannah arendt, subtlest of threats. But above all she has begun to make her daring offer: Be “augustly honored and be co-dweller (synoiketor) with me.” (833) She is inviting the Furies into her city!
They still rage repetitively. Theaters. “For me to bear this, oh!—for me of such ancient good sense to dwell in this earth is a dishonoring defilement,” they say twice over. (838, 871) Athena bears it patiently, though she tells them understatedly, “Zeus has not done badly by diversity experience, me either in movies giving me good sense.” She promises more, a place for them close to her own Erechtheum, the prize of the country’s first fruits, and honors over any they might have from a worn characterization essay, mortals elsewhere—if they will not afflict her places with incitements to bloodshed, drunken rages, fighting-cock hearts, and rash intractable aggression. “Let our wars be external!,” she says, since it is not war she denounces but civil war. (861) “I won’t weary of telling you,” she goes on, “so you can never say that by me, the movies theaters, younger, and my city-holding mortals, you, the The Rise in American Cons, ancient deity, went unhonored and were made a stranger on this soil.” If you have reverence for movies the power of a worn path, Persuasion, the honeyed soothing and seduction of my tongue, you will stay. (881, cf. 970) Suddenly, as one, they cave in: “Queen Athena,”—now first they call her queen, as had Orestes before them (235)—”what settlement do you say you have for me?” (892) Why? Surely they have been both bribed and sweet-talked, but surely that alone would never have persuaded these recalcitrantly tough old customers. I think what gets to them is not only theaters, Athena’s tactful rhetoric, which she takes so far as to incriminate herself as one of The Rise Cons, those hated younger gods, though one who is deferential to the ancient ones, whom she has begun to address in the singular as one deity. (848) No, it is movies movie, above all her genuine understanding of their indispensable function. She is, to be sure, acting for her people: “For like a plant-shepherding man (andros phit ypoimenos) I cherish the grief-removed nation (genos) of these just people here” (911)—this is Athena talking high-Aeschylean to make a declaration of personal essay, love to her Athenians. But then, after she has already brought the corps of Furies over, after they have already accepted co-dwelling (synoikia, 916) with her, she says from kindly care for her citizens: I have finally fixed these great and hard-to-please spirits, “for it is their lot to manage what pertains to mankind.” (927) This is powerful language, which shows that she is seriously acknowledging their dangerous potency, the risky blessing she is introducing into her city. Movies Movie. Her wise management of experience essay, these managers reminds me of what is perhaps the crucial line in Shakespeare’s Merchant of Venice: Bassanio says to the vengeful Jew: “Can no prayers pierce thee?” and movies movie Shylock answers: “No, none that thou hast wit enough to for a science, make.” (4.1.128) Athena has wit enough and wisdom to pierce the avenging Furies, and that is because she, unlike Apollo (or Bassanio), can summon a real, a reverential respect for movies theaters them: “Great power has the Lady Erinys.” (950) They sing antiphonally, the Erinyes of The Rise in American, blessings to movies movie theaters, be bestowed, Athena of the blessings to be received, telling her citizens to be ever well- (or kindly-) minded toward these Well- (or Kindly-) minded ones,” the Euphrones—which is as close as she seems to wish to for a, come to naming the Eumenides.
There is a great exit procession: the movie theaters, Areopagites, Athena’s acolytes, her Athenians, and finally the of advertising, goddess herself, conducting the movie, Erinyes, now dressed in the scarlet of resident aliens, marching as metics (1028), to behavior question, their permanent home beneath Ares’ Rock. Movies. Here is the third strophe of the exit march, sung by the Erinyes, now, without need of a worn path characterization, naming, recognized by movie, all the spectators as their Eumenides: Chairete, chairet’ en aisimiaisi ploutou, iktar hemenoi Dios. Parthenou philas phil0i, sophronountes en chronoi; ontas azetai Pater.
Rejoice and farewell in the happiness of wealth, Rejoice, townspeople. Seated close to personal diversity experience, Zeus. Friends of the theaters, friendly Virgin Moderate in good times. Under the wings of Pallas Athene. As you are, the a worn path characterization, Father respects you. (996-1002)
Of course, the whole theater was, though seated, marching along, a light trochaic tread, solemn but relieved, grave, and movies movie exhilarated. In American Cons. This was surely a high moment of sound-minded patriotism founded on whole-hearted trust in movie the wisely innovating goddess. As this founding drama draws to behavior paper, a close, Athena repeatedly invokes the Father, Zeus. Through her, her people are near to him. I think this means that though she acts locally, in this Attic land, on this Athenian High City, at this Rock of movies movie theaters, Ares, she is instituting a larger way, she is thinking universal Zeus-like thoughts for good for a paper other places and later times. Sophronountes en chronoi the new neighbors say of Athena’s people: They “are being temperate, sound-minded, moderate.” All these terms are acceptable renditions of movie theaters, sophronountes, which is, moreover a present participle, a verbal form signifying a continuing action. That is, at ideas research paper, least, how their city-goddess acts: ever-temperate, ever-moderate, and theaters what that means for Athens I shall end by saying in good for a science paper a moment. But why en chronoi, “in time, just in time, in movie theaters good time”—all of these are possible meanings?
It has seemed to hannah, readers a puzzlingly reserved phrase, a note of movie, restraint sounded among these transports of reconciliation. Perhaps what the Erinyes mean is that moderation is neither inbred nor learned in a day, especially not in its ongoing realization, the very temporality suggested by the verbal form: being actively moderate—thinking soundly over time. Under Athena’s wings they keep learning. What is The Rise of advertising in American, this—their, her—moderation in this forever critical situation, life lived literally with the movies, Erinyes beneath? Let me begin to answer by recapitulating Athena’s acts of moderation and innovation: Apollo, to win his case, cites new science which in effect says, “There are no mothers;” Athena, ensuring the same outcome, refers instead to her unique case of motherlessness and abstains from inhumanly radical generalizations. Faced with repulsive creatures, Apollo insults and expels them. Essay. Athena rather controls her repugnance and accords them more courteous treatment than, I imagine, they have ever received since dark Night bore them; she soothes and movie theaters invites them. Behavior Question Paper. Saddled with a case in which primevally simple and humanly compromised justice confront each other, she magisterially accepts the case but modestly recognizes that neither her people nor she can resolve the matter alone. Consequently, she founds a novel institution, a court for cases of movies movie theaters, killing, thus both making justice a public rather than a family responsibility and corroborating Athens as a place of history coursework, refuge and resolution. She makes the number of juror-judges even, well knowing that the first division of votes will express a right-minded human ambiguity concerning the case. She assumes the office of tie-breaker to give this verdict to movies, the god-driven killer who is the experience essay, first to movies theaters, come before the Areopagus court, tacitly ordaining the rule that in subsequent cases, when the mortals decide in her absence, equal votes will moderate primitive severity by The Rise in American, signifying acquittal. Movie Theaters. Having thus of necessity offended the Furies, she goes persuasively—and sincerely—far in acknowledging their priority and power, honoring them with titles: She names, or rather titles them, finally, the August Goddesses ( Semnai Theai) , and grants them prerogatives-in effect a share in paper the supervision of movie, her city.
Gently she domesticates them and turns these new residents into experience essay almost new deities. And yet…She is a modernizing goddess who, as the Erinyes themselves say, has caused a revolution. But when she takes the tremendous risk of domesticating these justly vengeful deities and making them officially metics, that is, co-dwellers, it is their intention she converts, not their nature: They are, as everyone knew, now the movies movie theaters, Eumenides, the Well-Intentioned, the Kindly-Thinking Ones. Behavior Paper. But they are still angry Erinyes as well: Their dark character as children of Night is not canceled but preserved  in that cave in Ares’ Rock, beneath the Areopagus Court. What above all moderates Athena’s modernity and makes her revolution a reverent one? It is that she knows and honors the ancient dread. Movies Movie Theaters. When the Erinyes lament that the new young gods ride them down, she, though herself a member of the new generation of gods, knows what that means: The others, at least this Apollo, are too brightly shallow to feel it, to feel the fear that the world will become unbalanced if holy terror fails. Even as she is establishing that work of reason, the human jury sitting in judgment, where the public decides by the numbers and the perpetrator goes humanely free when there is ocr a2 investigations, doubt, even as she is freely innovating, she tells her Areopagites: “Their reverence for the court and the inborn fear of the movies theaters, townspeople will keep them from doing injustice… as long as the citizens don’t make innovations in the laws.” And then, she gives her counsel, the gist of which I will quote once again: not to diversity experience, revere either anarchy or despotism, And not to throw all that is dreadful out of the city. For who among mortals, fearing nothing, is yet imbued with justice? (698)
This dread, this fear that the citizens are bidden to preserve, is a deep awareness of—one might even call it a kind of trust in—the terrible consequences of lightly letting old laws lapse and movie forcibly bringing in a new rational relief that leaves the primal Justice of investigations, reprisal out of kilter. A penultimate question: Are the movie, Erinyes creatures of conscience? Perhaps in the first moment of matricide Orestes experiences a gnawing horror like remorse. Behavior. For in the Libation Bearers only he sees the Furies. But they soon materialize, and in the Eumenides the whole city sees them. They are there not to movies, express a haunting sense of guilt but to personal essay, recall a world-dislodging deed, and they are not evocations of the perpetrator but emissaries of the victim. Movies Theaters. The Erinyes are, indeed, never renamed in the play, but at diversity experience essay, the very end the people in the procession give them one last fitting adjective: euthyphrones, “straight-thinking.” (1040) They are also repeatedly called children: “elder children” (palaiopaides, 69), no-children children. (paides apaides, 1034) There is in fact something naively, frighteningly, undeflectably direct about these ancient children; they demand straight simplicity like young children when they are in the holy terror mode, when they are fixed on movie the brute fact of an inequity: “Why is he allowed…?” No, they are not extrusions of the perpetrator’s conscience. But neither are they expressions of the victim’s outrage.
The Erinyes are rather exhibitions of a cosmic power. They are, by Aeschylus’ fiat, daughters of Night. Question Paper. “Murky Night” has borne, as Hesiod tells in his Birth of the Gods, many daughters, among them Nemesis, Blame and Woe, Destiny and the Fates, Who pursue the transgressions (paraibasias) of men and gods, Nor ever do these goddesses cease their dread anger. Before they have given evil attention to anyone who has gone wrong. (213-25) The Erinyes belong among the divine powers who keep the world from theaters, going out of joint  by rectifying imbalances. Born from murky dark, they bring a dreadfully simple clarity of accounting: Do and pay. Such are these anciently young spirits, while Athena is the newly young deity, and yet they come together over cosmic and investigations coursework civic politics. Both oppose anarchy as well as despotism (526, 696), because it is unbalanced, immoderate. Yet, Athena Polias is an movies movie, altogether modern, modernizing goddess, a civic deity who innovates, makes political revolution in the modern mode still current with us: She transfers moral responsibility to public institutions, decides by the numbers, that is, by voting, resolves issues by rational fiat, encourages perspicuous speech in diversity essay both parties: ”Answer me with something intelligible.” (442, 420) But she is in complete sympathy with the Furies’ cry that precedes their proscription of movies movie, political extremes:
There is a place where the dreadful is well (to. and, as overseer of the heart, it ought to stay seated there. It is of profit. to be moderate in in American Cons narrow straits. (517) So both connect moderation with the welcoming of dread. For certain blood spilled simply is irretrievable (1175) and some deeds are forever irredeemable. And the movies movie theaters, Apolline solution to “invent” what he calls “engines of relief ” (82) racks up debts in that economy of things that the Erinyes call Justice. What Athena understands is that this truth must be invited in and kept in mind: that continuous propitiating mindfulness by diversity essay, the beneficiaries of abrogated requital is required. This is movies, not straight Justice but it is clement civilization.
In that knowledge consists Athena’s moderate modernity. Back, finally, to Aeschylus: Does he “believe in” this Athena—believe that she exists? I answer abruptly, from the bafflement of a post-pagan and good for a science the enthrallment of an all-but-worshiper: He loves her as he loves his city, and love makes moot the question of existence—at certain high moments. Books by Eva Brann may be found in The Imaginative Conservative Bookstore. This essay originally appeared in movies movie theaters The St. John’s Review (Volume 50, No. 2, 2008) and ideas for a paper is republished here with gracious permission. Miss Brann welcomes questions/comments via mail: Dr.
Eva Brann, St. Movie Theaters. John’s College, 60 College Avenue, Annapolis, MD, 21401-1655 (she does not use computers). Ms. Brann writes: “These reflections on the Eumenides originated in a seminar on board the MJY Callisto, Captain Yannis Stupakis, sailing the Aegean Sea in October of 2006. The passengers were all members of the a worn characterization essay, St. John’s College community: Wendy Feintech, Jacqueline and movies David Levine, Cathryn and Tom Krause, Gretchen Dibble and Robert Mahaffy, Mary Jane Myers, Deborah and investigations coursework Lee Walcott; seminar leaders: David Levine and myself. I thank my colleague Mera Flaumenhaft for her suggestions and for making me aware of her gratifyingly like-minded essay, “Seeing Justice Done: Aeschylus’s Oresteia,” in her book, The Civic Spectacle (Lanham: Maryland: Rowman and Littlefield: 1994), especially pp.
27-41.” Lloyd-Jones, Hugh, The Eumenides by Aeschylus: A Translation and Commentary. Movies Theaters. Englewood Cliffs, N.J.: Prentice-Hall (1970). Paley, F. A., The Tragedies of Aeschylos (Edition and Commentary). London: Whittaker and Co. (1879). Podlecki, Anthony J., Aeschylus’ Eumenides (Edited with an Introduction, Translation and ocr a2 investigations coursework Commentary). Warminster, England: Aris and Phillips Ltd. (1989). Sommerstein, Alan H., Aeschylus, Eumenides (Edition and theaters Commentary). Cambridge: Cambridge University Press (1989). Verrall, A. W, The ‘Eumenides’ of Aeschylus (Introduction, Commentary and Translation). London: Macmillan and a worn characterization essay Co. (1908).
 There is even an old story that Socrates helped Euripides make his plays, who was consequently called by a later comic writer “Socrato-rivet-patched” ( s okratogomphos, Diogenes Laertius, 2.18).  Verrall, p. xxxvi.  It may be that the idea of bringing Orestes to Athens arose from the fact that in movies theaters the Odyssey he comes from Athens to avenge his father (3.307).  Emma Lazarus, “The New Colossus” (1883): “. . . Coursework. ‘Give me your tired, your poor/Your huddled masses yearning to breathe free,/The wretched refuse of movies, your teeming shore . . .’ .”  Sommerstein, p. 109, on !. 142.  E.g.
Euripides, Orestes, l. 35 (408 BCE); Sommerstein, pp. 11-12.  Gary Wills, Inventing America : Jef ferson’s Declaration of Independence, New York: Vintage Books (1978), p. xiv ff. A thorough rebuttal of coursework, Wills’s facts: Harry V Jaffa, “Inventing the Past: Garry Wills’s Inventing America and movie the Pathology of Ideological Scholarship,” The St . John’s Review 30 (Autumn 1981), p. 94 ff.  Paley, p. xxxvi; Sommerstein, p. 18.  Podlecki, p. Personal Diversity. 163, on l. 398.
 Podlecki, p. Theaters. 92, on l. 1028.  Meanly implausible reasons were later given for this, his second Sicilian voyage, such as his defeat by young Sophocles or his having revealed the Mysteries (Paley, p. Arendt On Violence. xxv). I think he was a famous Athenian, and so the Sicilian rulers wanted his poetry. There is no reason to think he was an expatriate; it’s hard to imagine after the Eumenides .  Paley, p. xxxvi.  The Delian Treasure was seized and brought to Athens in 454 BCE.
 This piece of Athenian wit was told me by Seth Benardete half a century ago. It seems mythopoetically true.  Abraham Lincoln, “Speech in movie theaters Reply to history investigations coursework, Douglas at Chicago” July 10, 1858)  Pindar, Fr. 76 (46), The Odes of movies movie, Pindar, translated by Sir John Sandys, Loeb Edition (1919), p. 556, n. 1. Katherine Lee Bates, ”America the Beautiful” (1893), in The American Reader: Words that Moved a Nation, ed. Diane Ravitch, New York: Harper-Collins (1990), p. 184.  Could it possibly be that this, the moral of the play, is not at the thousandth line by accident? To be sure, not all line counts agree. No, not likely.
 In fact, the Oresteia is the only complete surviving trilogy.  Podlecki, p. 129, on 11. 5-8.  I don’t know whether such a scene is The Rise of advertising Cons, ever repeated. Movie. In Euripides’ Hippolytus, for instance, where Aphrodite’s and Artemis’s statues seem both to be on stage, the deities themselves are not seen but only heard (86).
 The philosophical culmination of the reflection on image and behavior question paper original is in Plato’s Sophist (240 ff.). Athena was the patroness of arts and crafts.  Lord Lane (1986), quoted as an epigraph in Sommerstein.  In the movies movie, Generation of Animals Aristotle will elaborate this proto-thesis into a full-blown theory: The mother is an infertile male who contributes merely the receptive material to the embryo (1.19-20; 4.1).  Verrall, p. 126, on 11. 686-93 with sources; Sommerstein, pp. 2-3; p. 273, on ll. 685-90.  These lines are said to be the most controversial ones in the play (Sommerstein, p. Essay On Violence. 216). Movie. But the scholarly puzzlement is not about Athena’s agreement with the Furies but which historical laws she is personal diversity, warning against changing.
Is the passage attacking the movie theaters, democratic reform of the Areopagus? There are long discussions in Conacher (p. 199 ff.) and Sommerstein (p. 216 ff.). My notion is that Aeschylus’ warning is not against a particular historical case but against an ever-recurrent human event: radically rational innovation.  To me it is pretty clear that Athena casts the ocr a2 history investigations coursework, tie-breaking rather than the equalizing vote, because 1. there are 10 complete exchanges between Apollo and the Erinyes, one speech for each act of voting (Verrall, p. 130, on ll. 714-33), and 2. if Athena were evening the vote to bring about acquittal, the procedure for movie the court—that a tie acquits—would have had to precede its institution.
 Thucydides tells of a high moment of similar gloriously exhilarating solemnity. It happens to be an actual celebration, the send-off that the Athenian people give their Sicilian expedition, also with trumpets, prayers, paeans. But as the Eumenidean exit is thoughtfully future fraught, the Sicilian send-off is—to the consumer paper, reader who knows the end—fecklessly doom-inviting (P e loponn esian Wa r, 6.32).  The commentators are stumped and so have a lot to movies movie, say.  I would venture to consumer, say this only in a note: The Hegelian term aufheben, which means at once canceling, preserving, and raising up, fits this case.
 Thus Heidegger translates dike into German as Fug, “fit.” It is that reciprocity which join s together a tight-fitting whole (Introduction to Metaphysics, 4.3). Movies Theaters. There is a German idiom: mit Fug und Recht, “with full right.” Moreover Unfug means “mischief.” Published: Nov 10, 2015. Why Kids Should Play With Wild Animals. How the Medieval Church Made Modern Liberty. Pope Francis and the Caring Society. Lovely essay.
Aeschylus has always been my favorite of the paper, three tragic playwrights.
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Rawlins recommends showing the essay to a family member or friend and ask if it sounds like the student. “Take a few days and consumer behavior, come back to it. But only do that once,” Rawlins says. “Reading it over and over again will only drive you nuts.” 7. Don’t pretend to be someone you’re not. Movies. While colleges tend to nod to disadvantaged students, roughing up your background won’t help your cause. “It’s less about the ocr a2 investigations, topic and theaters, more about how you frame it and what you have to say about it, Robinson says. “The better essay is has the most interesting thing to say, regardless of a topic that involves a crisis or the mundane.” The essays serve as a glimpse into how your mind works, how you view the world and hannah essay, provides perspective. If you have never had some earth shattering experience that rocked your world, don’t pretend you did. Your insights will be forced and disingenuous. While the directions on the applications may sound generic, and even repetitive after applying to a variety of schools, Rawlins points out movies movie theaters, that every rhyme has a reason. “They have to know that college put a lot of thought into the instructions we give them—so please follow them!” he says. “We’ve given a lot of thought to the words we use. We want what we ask for.” 9. Use this space to tell them what your application can’t. Ideas For A Science Research. Most colleges don’t have the time or bandwidth to research each individual applicant.
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Web beacons are generally invisible because they are very small (only 1-by-1 pixel) and the same color as the background of the web page or e-mail message. Web Browsing Activity. When accessing our Website, We automatically collect certain information about Your computer and Your visit, such as your IP address, browser type, date and time, the web page You visited before visiting our Website, Your activities and purchases on our Website, and other analytical information associated with the Website. Information From Other Sources. We may also obtain information about You from other sources. For example, We may receive credit information from third-party sources before initiating Your service. Movies Movie Theaters. We may also purchase or obtain Personal Information (for example, e-mail lists, postal mail lists, demographic and marketing data) from Cons others. HOW WE USE INFORMATION WE COLLECT ABOUT YOU. We use the information We collect for a variety of business purposes, such as: To provide and movies movie bill for diversity essay Services You purchase; To deliver and confirm Services You obtain from us;
To verify Your identity and maintain a record of Your transactions and interactions with us; To provide customer services to You; To create, modify, improve, enhance, remove or fix our Services and movies movie theaters their performance; To identify and suggest products or services that might interest You; To make internal business decisions about current and future Service offerings; To provide You customized user experiences, including personalized Services offerings; To protect our rights, interests, safety and property and that of arendt our customers, service providers and other third parties; and. To comply with law or as required for legal purposes. We may use Personal Information for investigations or prevention of fraud or network abuse.
We may use information we collect to contact You about our and/or third-party products, services, and movie theaters offers that We believe You may find of interest. We may contact You by telephone, postal mail, e-mail, or other methods. You may see advertisements when You visit our Website. We may help advertisers better reach our customers by providing certain customer information, including geographic information, language preferences or demographic information obtained from other companies. This information is used by advertisers to determine which ads may be more relevant to You. Characterization Essay. However, we do not share Personal Information outside of our corporate family for advertising purposes without Your consent.
WHEN WE SHARE INFORMATION COLLECTED ABOUT YOU. We do not sell, license, rent, or otherwise provide Your Personal Information to unaffiliated third-parties (parties outside our corporate family) without Your consent. We may, however, disclose Your information to movie, unaffiliated third-parties as follows: With Your Consent. We may disclose Personal Information about personal essay, You to third-parties with Your consent. We may obtain Your consent in writing; online, through “click-through” agreements; when You accept the movies movie, terms of consumer behavior question paper disclosures for certain Services; orally, when You interact with our customer service representatives. We encourage You not to movies movie, share Your password. If You provide Your user account password and/or security question responses to third parties they will have access to essay, Your Personal Information when they access Your user account with Your account password. To Our Service Providers. We may disclose information to third-party vendors and partners who complete transactions or perform services on our behalf (for example, credit/debit card processing, billing, customer service, auditing, and marketing).
In a Business Transfer. We may sell, disclose, or transfer information about You as part of movies movie a corporate business transaction, such as a merger or acquisition, joint venture, corporate reorganization, financing, or sale of ideas for a company assets, or in the unlikely event of movies theaters insolvency, bankruptcy, or receivership, in The Rise which such information could be transferred to third-parties as a business asset in the transaction. For Legal Process Protection. We may disclose Personal Information, and other information about You, or Your communications, where we have a good faith belief that access, use, preservation or disclosure of such information is reasonably necessary: to satisfy any applicable law, regulation, legal process or enforceable governmental request; to enforce or apply agreements, or initiate, render, bill, and collect for services and products (including to collection agencies in movie order to obtain payment for our products and services); to protect our rights or interests, or property or safety or that of others; in connection with claims, disputes, or litigation – in court or elsewhere; to facilitate or verify the appropriate calculation of taxes, fees, or other obligations; or. in an hannah arendt essay on violence emergency situation. We may provide information that does not identify You personally to movies movie theaters, third-parties for marketing, advertising or other purposes. HOW WE STORE AND PROTECT THE INFORMATION COLLECTED ABOUT YOU. Protecting Your Information. We use a variety of physical, electronic, and procedural safeguards to protect Personal Information from unauthorized access, use, or disclosure while it is personal experience essay under our control. Unfortunately, no data transmission over the internet can be guaranteed to be completely secure.
We may update this Policy at any time to provide updates to or clarification of personal diversity experience our practices. If we make changes we may provide You with additional notice (such as adding a statement to the homepage of movies movie theaters our Website or sending You a notification). Good Science Paper. You should refer to this Policy often for the latest information and the effective date of theaters any changes. This web site is owned and behavior paper operated by movies movie, Viatta Business Ltd . A Partner is an individual who refers customers. Behavior Question. A Referral is an movies movie theaters individual who requests a service via the referral link given by a Partner. With the first order, a Referral acquires a 15% discount on the order, while a Partner receives $50 to the Referral Balance. With further purchases, a Partner earns 5% of the Referral’s total order price.
All money earned with the Referral Program is stored on your Referral Balance. A Partner can transfer the money to the Bonus Balance and use it to purchase a service. It is good ideas for a research paper possible to transfer the sum to movie theaters, the Partner’s PayPal account (no less than $20).