Philosopher Hypatia of Ancient Alexandria

Known for: Greek intellectual and teacher in Alexandria, Egypt, known for mathematics and philosophy, martyred by Christian mob Dates: born about 350 to 370, died 416 Alternate spelling: Ipazia About Hypatia Hypatia was the daughter of Theon of Alexandria who was a teacher of mathematics with the Museum of Alexandria in Egypt. A center of Greek intellectual and cultural life, the Museum included many independent schools and the great library of Alexandria. Hypatia studied with her father, and with many others including Plutarch the Younger. She herself taught at the Neoplatonist school of philosophy. She became the salaried director of this school in 400. She probably wrote on mathematics, astronomy, and philosophy, including about the motions of the planets, about number theory and about conic sections. Accomplishments Hypatia, according to sources, corresponded with and hosted scholars from other cities. Synesius, Bishop of Ptolemais, was one of her correspondents and he visited her frequently. Hypatia was a popular lecturer, drawing students from many parts of the empire. From the little historical information about Hypatia that survives, it is surmised by some that she invented the plane astrolabe, the graduated brass hydrometer, and the hydroscope, with Synesius of Greece, who was her student and later colleague.  The evidence may also point to simply being able to construct those instruments. Hypatia is said to have dressed in the clothing of a scholar or teacher, rather than in womens clothing. She moved about freely, driving her own chariot, contrary to the norm for womens public behavior. She was credited by the surviving sources as having political influence in the city, especially with Orestes, the Roman governor of Alexandria. Hypatias Death The story by Socrates Scholasticus written soon after Hypatias death and the version written by John of Nikiu of Egypt more than 200 years later disagree in considerable detail, although both were written by Christians.  Both seem to be focused on justifying the expulsion of the Jews by Cyril, the Christian bishop, and on associating Orestes with Hypatia. In both, Hypatias death was a result of a conflict between the Orestes and Cyril, later made a saint of the church. According to Scholasticus, an order of Orestes to control Jewish celebrations met with approval by Christians, then to violence between the Christians and the Jews. The Christian-told stories make it clear that they blame the Jews for the mass killing of Christians, leading to the banishment of the Jews of Alexandria by Cyril.  Cyril accused Orestes of being a pagan, and a large group of monks who came to fight with Cyril attacked Orestes. A monk who injured Orestes was arrested and tortured.  John of Nikiu accuses Orestes of inflaming the Jews against the Christians, also telling a story of the mass killing of Christians by Jews, followed by Cyril purging the Jews from Alexandria and converting the synagogues to churches.  Johns version leaves out the part about a large group of monks coming to town and joining the Christian forces against the Jews and Orestes. Hypatia enters the story as someone associated with Orestes and suspected by the angry Christians of advising Orestes not to reconcile with Cyril.  In John of Nikius account, Orestes was causing people to leave the church and follow Hypatia.  He  associated her with Satan and accused her of converting people away from Christianity. Scholasticus credits Cyrils preaching against Hypatia with inciting a mob led by fanatical Christian monks to attack Hypatia as she drove her chariot through Alexandria. They dragged her from her chariot, stripped her, killed her, stripped her flesh from her bones, scattered her body parts through the streets, and burned some remaining parts of her body in the library of Caesareum.  Johns version of her death is also that a mob -- for him justified because she beguiled the people of the city and the prefect through her enchantments -- stripped her naked and dragged her through the city until she died. Legacy of Hypatia Hypatias students fled to Athens, where the study of mathematics flourished after that. The Neoplatonic school she headed continued in Alexandria until the Arabs invaded in 642. When the library of Alexandria was burned, the works of Hypatia were destroyed.  That burning happened primarily in Roman times.  We know her writings today through the works of others who quoted her -- even if unfavorably -- and a few letters written to her by contemporaries. Books About Hypatia Dzielska, Maria.  Hypatia of Alexandria.  1995.Amore, Khan.  Hypatia.  2001. (a novel)Knorr, Wilbur Richard.  Textual Studies in Ancient and Medieval Geometry. 1989.Nietupski, Nancy. Hypatia: Mathematician, Astronomer, and Philosopher.  Alexandria  2.Kramer, Edna E. Hypatia.  The Dictionary of Scientific Biography.  Gillispie, Charles C. ed. 1970-1990.Mueller, Ian. Hypatia (370?-415).  Women of Mathematics. Louise S. Grinstein and Paul J. Campbell, ed. 1987.Alic, Margaret.  Hypatias Heritage: A History of Women in Science from Antiquity Through the Nineteenth Century.  1986. Hypatia appears as a character or theme in several works of other writers, including in  Hypatia, or New Foes with Old Faces, a historical novel by Charles Kingley.

Sexuality And Its Effect On Children Essay - 1003 Words

Sexuality has always been a taboo topic of discussion in most societies. Whether it is talked about it casually among friends or for educational reasons, the subject of sex is bound to trigger some controversy. In contrast, with the exponential growth of technology, Internet, and social media, sexual images can be found with the click of a mouse. Here lies a great contradiction. If sex is so easily portrayed in media, why is so hard to talk about? Becoming educated about sexuality and achieving optimal sexual health and well-being should be lifelong developmental process that begins at an early age and continues throughout the lifespan. Although parents should be the initial educators for their children, children also absorb messages about sexuality from many of media sources. This can potentially leave a confusing and potentially negative perception about the expectations and reality of sex. To combat such misperceptions, school systems and other community-based associations are e ssential. Such programs should be utilized, along side parental advocacy, to provide ayoung people correct and developmentally appropriate comprehensive sex education. While it is imperative that parents need to be the primary sex educators for their children, some parents may lack the support or do not have accurate information to so. As a result, these parents need have the support and resources from health educators and professionals to be able to tackle such complex issues. It is soShow MoreRelatedSexuality And Its Effects On Children Essay1429 Words   |  6 PagesI want to know much more in this matter â€Å". Aditi is not the only child to have such questions about sexuality; the girls of her age do possess such inquisitive feelings. Only few get satisfactory replies to their question on this matter. However, in today’s scientific age, where open discussion on this subject is considered to be inferiority and reading books, magazines, periodicals on sexuality is termed as immoral where shall these girls tend answers to their questions? Is’nt our narrow mindedRead MoreThe Effects Of Sexuality On Children s Sexual Abuse1652 Words   |  7 PagesOver centuries, sexuality has been a controversial concept, which has been seen , understood and regulated differently within societies. With regard the sexual treatment of children, the shift in thinking that has taken place has been also major. Jenks (1996) outlines that in history there have been recorded a multitude of examples of sexual maltreatment of children, that in nowadays would be defined as child sexual abuse. Only in the last three decades there have been a strong and overwhelmingRead MoreHuman Sexuality And Its Effects On Children And Young People Understand1309 Words   |  6 PagesMuch has been made of the role of human sexuality, yet little has been said about the importance of learning about human sexuality. Sex has been the same since time began, and we cannot continue to ignore the reality of what children are being exposed to. Being educated about these topics, being educated, in general is important to me. Education is what will help this world with inequalities, and so many other problems. Human sexuality has become one of the topics that have caught my attention becauseRead MoreGlobalization And Sexuality1247 Words   |  5 Pagescharacters. Sexuality refers to how people relate to sexual activities or perceive sexual matters. Sexuality may differ from one culture to the other, but the cultures are likely to influence each other’s sexual beliefs and orientation. Globalization has had an extensive influence on the changes witnessed in sexuality across the globe. It is through globalization that sexual purposes have gotten new meanings. Some of the topics which come up as a link between globalization and sexuality are sexualRead MoreHuman Sexuality Education : A Natural Part Of Our Everyday Lives1188 Words   |  5 PagesHuman Sexuality Education Paper As a very natural part of our everyday lives and existence as humans, it is perplexing how so many Americans are undereducated about human reproductive systems and sex organs, their structures and functions, and the various effects and consequences of human sexuality. The responsibility of properly educating young people about human sexuality is in the hands of parents and schools. Educational programs in U. S. schools today, such as Abstinence Only and AbstinenceRead MoreMedia Influence On The Media993 Words   |  4 Pages they can do anything. Media is the way to translate different news, videos, music over the people. I think media influence the most about the sexuality. Media influence me by showing different sexual stories in the newspaper, by posting videos and picture on the website, and by watching different sexual videos on movies influence the most about sexuality. It is a positive influence because we can get the knowledge about sexual precaution and awareness. Televisi on programs influence about sexualRead MoreComprehensive Reality-Based Sexuality Education Essay549 Words   |  3 PagesComprehensive Reality-Based Sexuality Education What is comprehensive, reality-based sexuality education? True comprehensive, reality-based sexuality education seeks to assist young people in understanding a positive view of sexuality, provide them with information and skills about taking care of their sexual health, and help them acquire skills to make decisions now and in the future. Ideally, sexuality education is taught in ways that are age- and experience-appropriate in kindergartenRead MoreThe Invention Of Sexuality As A Social Construct955 Words   |  4 PagesSince the invention of sexuality as a social construct, there has been the invention of heterosexual versus the other – with the other being anything beyond opposite-sex attraction. This otherness creates discrimination and hatred, thus reinforcing a normal versus abnormal feeling within people. In 2013, 42% of Americans confessed that they believed that being gay or lesbian was a choice, and that choice was to live an abnormal lifestyle (Masci, Americans Are Still Divided on Why People Are Gay)Read MoreThe History Of Sexuality By Michel Foucault1729 Words   |  7 Pageschapter of the book entitled â€Å"The History of Sexuality† by Michel Foucault seeks to explain the traditional and modern issues regarding sexuality. Michel argues out that during the 17th century, sexuality was not a big deal, and various sexual acts were pursued more or less deliberately. Primarily, there was no taboo concerning sex and people of all age groups including children were well aware of sexual behaviours. Michel then points out that sexuality was now shifted to the homes where it was meantRead MoreIs Sexuality Shaped By Other Social Factors?1628 Words   |  7 PagesPlease insert your essay here. Please specify which essay question you are addressing How is sexuality shaped by other social factors? Sexuality does not develop within a vacuum separate to society or politics. All social factors play a role in shaping one another and sexuality is no different. Here sexuality can be loosely defined as a person’s capacity for sexual feelings, sexual identity or preferences and their sexual activity. Secondly, ‘disability’ can be defined loosely as: ‘a physical

Lear and the Fool Free Essays

1. How does William Shakespeare use changes in the Fool’s dialogue to mirror changes in Lear’s own perspective? Choose quotes from the sheet that support your argument. 2. We will write a custom essay sample on Lear and the Fool or any similar topic only for you Order Now How does William Shakespeare use the Fool to reflect Lear’s own thoughts and fears? Use a quote from the sheet to support your argument. The Fool’s dialogue is like a mockery of King Lear – he speaks pure honesty of Lear but adds hints of comedy to balance out the rudeness implied. The Fool re-enacts King Lear’s life by acting out his choices and proves how much of an oblivious and naive fool King Lear was before. The Fool creates a figure – much like King Lear, to act out the foolish behaviour that Lear had behaved earlier such as giving his kingdom to his two daughters, Regan and Goneril because he had trusted them. Now that the true figure of his daughters have been revealed, showing their dishonesty and evil nature, King Lear is upset that he had held that much trust in them and the Fool is represented in there to show Lear’s failure as a King. The quote, ‘if thou wert my fool, nuncle, I’d have thee beaten for being old before thy time’ represents that now the Fool believes that King Lear is now the real fool. Why did William Shakespeare include mockery and obscene humour in such tragic play? Which part of the audience would appreciate this the most? Give examples from the quotes supplied. The mockery used by the Fool is to balance out the tragic honesty and brutality with comedy to ease and balance it out so that the play is not all tragedy. The audience that were the closest to the stage were given direct jokes from the Fool about the protagonist, this is usually done to the closest to the stage – which were usually the poor people since they would not be able to receive any seats higher. How to cite Lear and the Fool, Papers

NIKE Essay Example For Students

NIKE Essay Barber 1Table of ContentsIntroductionpage 2Historypage 2Total Revenues..page 3Gross Margin.page 3Net Incomepage 4Current Assetspage 4Current Liabilities.page 4Working Capital.pages 4 5Nikes Healthpage 5Common Stock Outstanding.page 5Nikes Sales Health..page 5Nikes Fiscal Yearpage 6Illustrations and Graphspages 7 12Works Citedpage 13Barber 2HistoryNike is probably the mot well known name in sports athletic apparel. Nike has supported the most prolific names n sports. Michael Jordan, Tiger Woods, and Ken Griffey Jr. are just a few of the athletes that Nike sponsors. The companys revenue constantly grosses in the billions. The company continues to dominate the athletic apparel industry. Nike was established in 1957 by a coach and an athlete. The two went on to establish the most successful footwear company in the world. Bill Bowerman and Phil Knight are the two founders. From 1961 to 1971, Knight joined with a Japanese company named Tiger. He thought that the company would end Germanys domination over the footwear industry. When he met with the company, they asked what company he represented and Knight came up instantly with the name Blue Ribbon Sports. The company would later become Nike. Blue Ribbons revenue continued to rise and in 1971, a student names Carolyn Davidson designed the Nike Swoosh symbol for $35. In 1972, Blue Ribbon separated from Tiger and became Nike. The company arrived at the name from the Greek Goddess of victory, Nike. The 2700 employee company went public in 1980. From 1981 to 1991, Nike began to sponsor the top athletes in the world of sports. Nike pursued the likes of athletes such as Carl Lewis and Michael Jordan. Nike Company topped the 107 billion-dollar mark in 1986. The company established the Just Do It campaign in 1987. Nike continues to dominate the footwear category not only in the United States, but also in Canada, Japan, and Taiwan. Barber 3Financial Statement AnalyzationNikes financial history has fluctuated constantly in the past five years. In the years 1998 and 2001, Nikes revenues were at its highest ten year point. The price of Nikes common stock has gone down in the past five years. It was at its highest point in 1997 and next highest in 1999. RevenueThe Chicago Bulls had won their second National Basketball Association championship in 1997. Michael Jordan was the best basketball player at the time and everyone wanted to be like Mike. Jordan was under a contract with Nike for his Air Jordan sneakers. This was great for Nike, because it allowed the company to capitalize off of Jordans success. Nikes revenue for 1997 was $9,186.5 million. This was an increase of nearly 3 billion dollars from 1996. The Chicago Bulls had completed a three peat in 1998. Michael Jordan was still under a contract with Nike and the company was able to capitalize again with the revenue increasing by $400 million to $9, 553.1 million in 1998. In 1999, the price of Nikes common stock had risen but its total revenues had fallen nearly 1 billion dollars from the previous year to $8, 7769. Nikes revenues had increased to $8, 995.1 in 2000 and to $9, 488.8 in 2001. These numbers are for the fiscal year ended May 31. Gross MarginThe gross margin ratio is defined as gross margin (net sales minus cost of goods sold) divided by net sale. Nikes gross margin ratio was 40.1% in 1997. The highest it had been in a ten year period. The ratio had fallen to 36.5% in 1998. It began to Barber 4increase in 1999 to 37.4%. The gross margin ratio was 39.9% in 2000. Nearly as high as it was in 1997. The gross margin ratio had fallen only .9% in 2001 to 39.0%. .u399079ff927c9e10ae8674541cc65a69 , .u399079ff927c9e10ae8674541cc65a69 .postImageUrl , .u399079ff927c9e10ae8674541cc65a69 .centered-text-area { min-height: 80px; position: relative; } .u399079ff927c9e10ae8674541cc65a69 , .u399079ff927c9e10ae8674541cc65a69:hover , .u399079ff927c9e10ae8674541cc65a69:visited , .u399079ff927c9e10ae8674541cc65a69:active { border:0!important; } .u399079ff927c9e10ae8674541cc65a69 .clearfix:after { content: ""; display: table; clear: both; } .u399079ff927c9e10ae8674541cc65a69 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u399079ff927c9e10ae8674541cc65a69:active , .u399079ff927c9e10ae8674541cc65a69:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u399079ff927c9e10ae8674541cc65a69 .centered-text-area { width: 100%; position: relative ; } .u399079ff927c9e10ae8674541cc65a69 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u399079ff927c9e10ae8674541cc65a69 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u399079ff927c9e10ae8674541cc65a69 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u399079ff927c9e10ae8674541cc65a69:hover .ctaButton { background-color: #34495E!important; } .u399079ff927c9e10ae8674541cc65a69 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u399079ff927c9e10ae8674541cc65a69 .u399079ff927c9e10ae8674541cc65a69-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u399079ff927c9e10ae8674541cc65a69:after { content: ""; display: block; clear: both; } READ: Should the man or woman dominate the relationship? EssayNet Income1997 was a good year fro Nike. Nearly all of its financial numbers were at their highest ten year point. Nikes net income was $795.8 million in 1997. That was an increase of $242.6 million from 1996. There was a dramatic decrease in net income in 1998. Nikes net income was $399.6 million in 1998. In 1999, the net income increased $60 million to $451.4 million. The net income increased steadily in 2000 and 2001. The number increased from $579.1 million in 200 to $589.7 million in 2001. Current AssetsNikes current assets were at their highest ten year mark in 2000 and 2001. The total assets had increased nearly $600 million in 2000. The amount was $5, 856.9 million. The number had fallen somewhat in 2001 to $5, 819.6 million. Current LiabilitiesNike was having very good revenue numbers in 2000 and in 2001. The numbers that the company produced were good for stockholders and for the company. The total current liabilities for the company were relatively small. The liability count was $470.3 million in 2000 and had decreased to $435.9 in 2001. Working CapitalNikes working capital in 2000 had decreased nearly $400 million from the previous year. The working capital in 2000 was $1, 456.4 million. In 2001, the working Barber 5capital had increased nearly $400 million. This number was greater than the amount in 1999. The working capital was $1, 838.6 million in 2001. Nikes HealthNike is constantly going to be a leader in the athletic apparel department. The company continues to have the most attractive advertising and it also continues to attract the best athletic clientele in all aspects of sports. Nike is still considered to be the top company in the footwear competition. The companys numbers are constantly increasing. The price of the stock may fall, but the liabilities and total income continues to rise. This is a reason that Nike is still considered to be one of the healthiest companies in the athletic business. Average Common StockNikes outstanding shares of common stock was at 288.4 million in 1997. This was an increase of .8% from 1996. The companys outstanding shares in 1998 were at 288.7 million. The number began to decrease steadily each year after that due to the company being heavily traded on the stock market. The number was 283.3 in 1999. It was at 279.4 in 2000. The number had decreased by 6.1 to 273.3 in 20001. Nikes 2001 Sales HealthNikes sales were very appealing in 2001 when compared to 2000; the company increased its numbers a great amount in almost all categories. Its revenues were better than the previous years and there was also a higher return on equity. 2001 was a good year for Nike Company. The numbers were very similar to that of 1997 when Nike could have been said to be at its peak. Barber 6Nikes Fiscal Year and ConclusionNike Companys fiscal year end at May 31 each year. Looking at Nikes financial numbers shows that the company is not only a top choice in the general publics eye, but also to many investors. Nike is a company that an investor would find very attractive. It is a company that has high revenue numbers each year and is established. When thinking about what to do about a Nike stock, Just Do IT. Barber 13Works Cited1.A Coach and an Athlete.www.Yahoo.com2.1997 History. www.Nike.com3.1998 History. www.Nike.com4.1999 History. www.Nike.com5.2000 History. www.Nike.com6.2001 History. www.Nike.com7. Nikes Eleven Year Financial History. www.Nike.com

Baritone Voice as Primo Uomo in Mozarts Operas

Table of Contents Introduction Baritone Voice Primo Uomo: Definition and Significance Mozart Operas by Mozart Conclusion Reference List Introduction The world of music has always been alluring for creative people. Music is one of not many art forms that are possible to specialize in even if one does not have a genius for it. Of course, in this case, becoming an extraordinary musician is impossible, but a person who has an utmost desire to play music will realize at least some of his/her dreams.Advertising We will write a custom research paper sample on Baritone Voice as Primo Uomo in Mozart’s Operas specifically for you for only $16.05 $11/page Learn More Music is the same indulgent for those who have been hurt by nature; the history of music abounds with examples of talented composers who either were deaf from birth or have gone deaf in the course of their music career. The greatest peculiarity of music is that it uses terms that may be unkno wn to those who are not involved into the world of music. A person who does not have musical education will never be able to duly appreciate operas composed by Wolfgang Amadeus Mozart or any other prominent musician. Mozart’s operas are especially interesting to view from this perspective because every single character in this composer’s works has a meaning for the entire opera and the part that he/she sings was given to this character not for nothing. A number of Mozart’s operas, such as Le Nozze di Figaro, Don Giovanni, Cosi fan Tutte, Die Zauberflote and their characters, such as Count Almaviva, Don Giovanni, Gugliemo, Papageno, and others are united by the presence of baritone voice as primo uomo. Hence, the aim of this paper is to consider these operas in more detail and to define how important these characters are for these operas and why namely baritone voice was chosen by Mozart as primo uomo. Baritone Voice Definition. Baritone is the most common type o f male voice â€Å"usually written for within the compass A to f, which may be extended at either end† (Sadie Tyrell, 2001, p. 730). If compared with other types of male voice, baritone is somewhere in the middle between bass and tenor because it is lower than tenor, but higher than bass. Baritone is also believed to be one of the most pleasant male voices when it comes to operas, which is why, as suggested, the operas having it as primo uomo, enjoy special popularity. Meaning. The word ‘baritone’ has originated from the Greek word barytonos, the meaning of which is ‘deep sounding’ (Sadie Tyrell, 2001). Indeed, baritone singers strike the listeners with the deepness of their voice which is not as heavy as in case with bass. History. The use of the term ‘baritone’ and the voice type as such has a rich and long history. This term originated in the 15th century French sacred polyphony as baritonans and was first used to denote a voice tha t was of lower pitch than bassus. This is why, during the 15th and even 16th centuries this term was specifically used to refer to the lowest voices.Advertising Looking for research paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Closer to the 17th century, however, its meaning has changed significantly. Italy was the first to start using the term to denote medium male voice. This was when baritone started developing its own features and characteristics and started to be recognized as a separate type of voice. Nevertheless, it was not always that baritone was distinguished from bass in some of the operas. There is a wide range of works that belong to the beginning of the 18th and even 19th centuries and that have numerous baritone roles which, however, are marked as bass roles in majority of the cases. A bright example of this is Mozart’s creative work. The operas of this composer did not make much distinction between bass and baritone. Thus, for instance, â€Å"the first Count Almaviva (Le nozze di Figaro), Stefano Mandini, described as a â€Å"primo buffo mezzo carattere’ had a voice that would now be considered a baritone† (Sadie Tyrell, 2001, p. 731). Besides, Don Giovanni also had several bass roles and the principal part was also performed by a singer with bass voice type, or what then was believed to be bass. The meaning of namely baritone for these particular operas will be discussed in this paper later in more detail. Finally, the pick of the recognition of baritone as a separate voice type in operas was in the 19th century. Back then, florid singing dominated in the opera houses and low male voices were not very suiting for this type of singing. However, it took much time before baritone singers started to be selected for principal roles in operas. Principal male roles were predominantly basses, especially in case with German operas. Eventually, quite soon barito ne voice was accepted by the operas. This has â€Å"widened the range of male character types beyond those traditionally associated with the castrato or the tenor (the hero and the lover) and the bass (the king, the soldier, the high priest, the aged man)† (Sadie Tyrell, 2001, p. 731). This is how the development of baritone took place throughout the centuries; all these events contributed into its being prevalent in the 20th century operas and into the emergence of a number of famous baritone singers.Advertising We will write a custom research paper sample on Baritone Voice as Primo Uomo in Mozart’s Operas specifically for you for only $16.05 $11/page Learn More Primo Uomo: Definition and Significance Among the variety of opera elements in Mozart’s works, it is necessary to underline the significance of â€Å"primo uomo† that is translated as the â€Å"first man† or the â€Å"leading castrato† (Kuster Whittal l, 1996; Sadie, 2006). In almost each Mozart’s works, the primo uomo is considered to be the most significant and the most highly-paid singer in regards to other participants of the opera. To clear up why this singer deserves so much attention and recognition in particular Mozart’s works, it turns out to be necessary to define the meaning of this term and to analyze the ways of how Mozart used this singer in his operas. Definition of the meaning. According to the online Glossary (2010), primo uomo is defined as â€Å"the principle male singer in an opera or on the roster of an opera company. Just like a leading lady had been given the title ‘prima donna’, so a famous Castrato would claim the title ‘primo uomo’.† A castrato is a type of male singing voice that is similar to soprano or, to be more exact, to mezzo-soprano that is between A and C octaves. During a considerable period of time, this term has been applied to different types of voice, and the baritone was one of such types. However, such operas like Le Nozze di Figaro, Cosi fan Tutte, or Don Giovanni may serve as the best example of primo uomo applied to castrato. Though Mozart made numerous attempts to elaborate the roles of other singers to the leading role of the primo uomo, for instance, to the seconda donna or secondo uomo with tenors, the identification of primo uomo was clear and comprehensible. In spite of all changes and additions by famous musicians to the role and the definition of the term primo uomo, the 18th century introduces primo uomo as the only worthwhile male leading singer of castrato or soprano part in an opera. Mozart and his use of the primo uomo. Such sophisticated and magnificent composer of the Classical era of opera and ballet as Mozart certainly knew how to make use of ht primo uomo and what aspects were better to touch upon at first. Though it was not very difficult to define what singer had to perform the leading role and th e second role, another task could create a number of problems. This task was all about choosing the most appropriate voice type to the primo uomo, and Mozart demonstrated how it was possible to achieve the best results in such activity. His success is possible to observe in all his operas where the leading role is performed by the primo uomo applied to castrato and the baritone that has been described above.Advertising Looking for research paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Mozart Short biography. Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was an eminent composer of the Classical era (Sadie, 2006). His genius was essential since the childhood. It was no secret to anyone who surrounded this would-be outstanding composer that his work would leave deep traces in the world of music and opera, in particular. In fact, leaning toward music, Mozart wanted to reach out the perfection of sounding and singing as referred to classical themes in music art at the time. When in Salzburg, he showed his prodigious capability of playing the piano and violin as a court musician (Sadie, 2006). His father, Leopold Mozart helped young Mozart to gain momentum in personal careers. However, his talent needed more appreciation. Since 1781 Mozart moved o Vienna where he gains fame and more capacities to involve his talent in creating operas (Sadie, 2006). It was he who adored the charms of opera buffo while staying in Vienna. He was surely dedicated to th e opera as such that he produces his first two buffo operas L’oca del Cairo and Lo sposo deluso (Rushton, 1981). During his relevantly short years of life Mozart represented a scope of works which illuminate the magnificence and virtuous implementation of opera. To say more, the most noteworthy operas created by Mozart are Don Giovanni, Le nozze di Figaro, Cosi fan tutte, Die Zauberflotte. All of them and many other consider the precious legacy of Mozart’s art in opera. History of opera. The art of opera takes its roots from the late 16th century in Italy (Grout Williams, 2003). It was the time when separate cities like Florence, Napoli, Venice, etc. were known to be so-called â€Å"cradles of genuine arts† and their implementation at large. The term â€Å"opera† is a Latin interpretation of â€Å"work† (Sadie, 2006). Thus, the main idea of opera is to compose proficient singing along with typical dramatic musical score. Dafne by Jacopo Peri and L ’Orfeo by Claudio Monteverdi were the earliest works as related to mastership of opera (Grout Williams, 2003). Thereafter, Italian classical tradition in performing opera spread over the rest of Europe. Along with initially dramatic colouring of classical opera appear comic variations of this kind of art settled down first in Florence in the late 17th century (Grout Williams, 2003). That was a â€Å"day-spring† of the versatility of themes and somehow genres in opera which stimulated further cultivation of genius ideas in music. The next stage of opera development falls into the Baroque era in arts. The implementation of primo uomo and baritone in opera was felt in works of German and French composers. Hence, Handel and Mozart are considered to be the most viable composers who contributed greatly into the further growth of opera art throughout Europe. In the late 18th century the art of opera experienced the apogee of opera buffo followed by the early 19th century hi ghpoint of bel canto style (Grout Williams, 2003). All in all, opera magnified the uniqueness of text (libretto), sceneries, orchestral music in a wonderful ensemble which still follows the classical form of execution in contemporary opera. Operas by Mozart Le nozze di Figaro. This opera is a result of fruitful work of Mozart with well-known at the time librettist Lorenzo da Ponte in 1986 (Carter, 1987). It is known to be the first opera buffa created by Mozart in his Viennese period of life. In fact, it is an adaptation of Jean Paul-Augustine Beaumarchais’s play turned into opera (Carter, 1987). The place of count Almaviva is the main as referred to primo uomo baritone. His party in the whole opera symbolizes the gist of the main expression of this opera buffa. The key in which the majority of parties are executed is represented in allegro or allegretto. Meanwhile, the parties of baritone vary between A and F major key (Carter, 1987). Full F octave is implemented in the par ty of count Almaviva in the dominant key (V). Don Giovanni. This play performed for the first time in Vienna in 1788 continued the Maozart’s tradition for opera buffa (Rushton, 1981). Nevertheless, it provides a scope of the main idea through manly allegro-andante parties of the main heroes. Don Giovanni as baritone primo uomo is more felt in F major in duet with Leporello in Act II Scene 1(Rushton, 1981). It is here that Mozart takes advantage of opera buffa along with the Italian tradition for incanto (Sadie, 2006). To say more, this opera impresses by richness in recitativo obligato in the parties patterned by the variation from D major to F major (Rushton, 1981). Programmatic overtures which are in most points patterned by female parties (soprano) emphasized by Don Giovanni’s baritone promote different transitions of mood among the main characters. At this point the abandonment of Donna Elvira and betrothing to Donna Anna provide a csope of variations in sounding b etween recitativo obligato and recitativo secco (Rushton, 1981). Hence, the whole outlook of Don Giovanni executed by Mozart provides a peculiarity of coda in the beginning of each act followed by longer sounding in D major afterwards. Thus the parties of Don Giovanni are highly pitched by prior position. Cosi fan tutte. This play created by Mozart again in collaboration with Da Ponte provides more intimate themes in relationships of the main characters. Cosi fan tutte was first performed in 1790 and received gratitude from the audience (Brown, 1995). This opera buffa, however, encountered several reason for initial lack of expected appreciation on the part of the Austrian emperor, for he died at the time. Nonetheless, the characterization of the opera provides a dramatic story of love between Guglielmo and Fiordiligi and Ferrando and Dorrabella. Da Ponte wanted to maximize the audience’s impression by making more intimate libretti for the soprano parties. Bass party of Don A lfonso are maintained mainly in recitativo in F major octave (Brown, 1995). Sincere sounding and coherence of the main soloists is accompanied by Idomeneo which is why the intimate lyrics are that ostensive throughout Cosi fan tutte. Primo uomo is focused hereby on the figure of Guglielmo, for his rage and despair in love shapes cross-relational attitudes toward Ferrando (Brown, 1995). Hence, the tragic implementation and sounding in key major varying from C to F makes this opera different from other works created by Mozart and Da Ponte. Conclusion The role of music in our everyday life is great indeed: people are able to not only listen and enjoy the results of composers’ works but also to realize that music has many hidden functions and influences on people. This is why the importance of composers works increases considerably as one mistake in work’s creation may lead to many unpredictable results and disappointments. In general, the achievements demonstrated by Wolf gang Amadeus Mozart play a significant role in many musical aspects. Almost all musicians and historians agree that he was a true genius with his own vision of music, details, and elements. He introduced a plenty of compositions, and almost each of them has become a popular classical music. His idea to use the baritone voice as the primo uomo in his several operas is a unique opportunity to evaluate the role of voices in the general effect of music on people. It is not enough to say that this person introduced a new way according to which the primo uomo becomes an integral part of the work. Mozart’s attempts have to be regarded as the most influential lessons on further development of the baritone as the primo uomo in operas. His Le Nozze di Figaro with bass baritone, Don Giovanni with its demonic elements, and Cosi fan tutte with a number of allusions and proverbs are the examples of how perfectly it is possible to use the baritone as the primo uomo and replace the functions performed by tenor or castrato. Without any doubts, it was a novelty; to make it clearer and more comprehensible to the listeners, it becomes important to make some additions which help to explain the message. This is why all the above-mentioned elements and steps may be justified at least because of the necessity to introduce new ideas and prove their correctness. The introduction of the baritone as the leading voice in Mozart’s operas promotes the development of a new style, a new sound, and a new interpretation of music that has not been known before. Mozart is an experimenter by his nature, and each his idea became one more success of his. This is why the use of the baritone as primo uomo in Mozart’s operas attracts the attention of many people for a long period of time and proves once again that this person had unbelievable skills to use ordinary things and create something really great. Reference List Brown, B. A. (1995). W. A. Mozart: Cosi fan tutte. Cambridge: Cambridge University Press. Carter, T. (1987). W. A. Mozart: La nozze di Figaro. Cambridge: Cambridge University Press. Doherty, M.J. (2010). Glossary. Web. Grout, D. J., Williams, H. W. (2003). A short history of opera (4 ed.). New York, NY: Columbia University Press. Kuster, K. Whittall, M. (1996). Mozart: A Musical Bibliography. New York: Oxford University Press. Rushton, J. (1981). W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press. Sadie, S. Tyrell, J. (2001). The new Grove dictionary of music and musicians. Ann Arbor: Grove. Sadie, S. (2006). Mozart: The Early Years 1756-1781. New York: Oxford University Press. Sadie, S. (2006). Mozart: the early years 1756-1781. Oxford: Oxford University Press. This research paper on Baritone Voice as Primo Uomo in Mozart’s Operas was written and submitted by user Abbey Ramsey to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Distinctive Features of the Grammar of Irish English

Distinctive Features of the Grammar of Irish English If you celebrate St. Patricks Day with plastic pitchers of green beer and rousing choruses of Danny Boy (composed by an English lawyer) and The Unicorn (by Shel Silverstein), you may be roaring just about anywhere in the world on March 17except in Ireland. And if your friends insist on hollering top o the mornin and begosh and begorrah, you can be pretty sure theyre not Irish. The English language as spoken in Ireland (a variety known as Hiberno-English or Irish English) has many distinctive featuresnone of which should be confused with your friends Celtic clichà ©s or the Hollywood brogues of Tom Cruise (in Far and Away) and Brad Pitt (in The Devils Own). As examined by Markku Filppula in The Grammar of Irish English: Language in Hibernian Style (Routledge, 1999), Irish-English grammar represents a unique combination of elements drawn from the two principal partners in the contact situation, Irish and English. This grammar is characterized as conservative because it has held on to certain traits of the Elizabethan English that helped shape it four centuries ago. Here are just a few of the characteristics of Irish-English grammar: Like Scottish English, Irish English has unmarked plurality in nouns indicating time and measuretwo mile, for instance, and five year.Irish English makes an explicit distinction between singular you/ye and plural youse (also found in other varieties): So I said to our Jill and Mary: Youse wash the dishes.Another characteristic of Irish English is nominalization, giving a word or phrase a noun-like status that it doesnt generally have, as in If I had the doing of it again, Id do it different.A direct borrowing from the traditional Irish language (also known as Irish Gaelic or Gaeilge) is the use of after in noun phrases such as Im only after my dinner.Like Scottish English, Irish English often uses progressive forms of stative verbs (I was knowing your face).Another salient feature is the use of sentence tags initiated by so, as in Its raining, so it is. (adapted from World Englishes: An Introduction, by Gunnel Melchers and Philip Shaw. Oxford University Press, 2003)   Thats just a small sample of the many distinctive features of Irish-English grammar. Discussion of its rich vocabulary (or lexicon) and patterns of pronunciation (phonology) will have to wait until next years St. Patricks Day. Until then, if youre interested in learning about Gaeilge (the historical language of the Irish people, now spoken by only a small minority of the population), visit Michelle Gallens website, Talk Irish. This award-winning site provides a social network for teachers, speakers and learners of traditional Irish. Sln go fà ³ill. Goodbye for now. More Varieties of English: Australian EnglishCanadian EnglishChicano EnglishChinese EnglishDublin EnglishEuro-EnglishHinglishIndian EnglishPhilippine EnglishScottish EnglishSingapore EnglishSouth African English

The security properties of network applications Assignment

The security properties of network applications - Assignment Example That is; confidentiality, integrity and availability of data to the right person. Not only will this report cover the network applications security, but it will also look into the network applications architecture and how this architecture can be best implemented so as to ensure data confidentiality, data integrity and data availability. For this case study, BF is a social network application that aids individuals to have a social forum with other people. Through that, an interested individual will have to register with BF so that they can be in a position to communicate with other individuals through the use of text and sending of images and videos. 1.2 Application description What are network applications? These are programs that run on a network and they allow for more than one user to have access to the program. Network applications can either be run online or offline. Offline network applications can be related to programs such as Office. These programs can be installed and/ or networked from the main server so that they can allow more that one individual to have access to using the program. When it comes to online network applications, these are applications that need an online server and a client; both of which must communicate in real time else they will no longer be referred to as online network applications. In this case, there is a server which is located in the data centre. The server stores all the relevant data and information that may be queried by a client. The client on most occasions could be a web browser or another computer/ laptop/ or gadget. How does BF work? What is the user experience of BF? Based on the above application description, the same ideology can be applied to our case; that is the BF social network application program. It is important to note that BF also uses the same application description where there exists a server and a client. The servers (s) are always located in the data centre. This is to ensure that they are not acc essed by individuals who are not authorised to come into contact with them. In addition to that, the client in this instance will be the web browser that the user will use so as to key in the Universal Resource Locator (URL) of BF. Example: http: //www.BF.com Once the user hits the search button from their web browser, that will send a request for the search of the URL (http: //www.BF.com) and the corresponding BF server will respond to the request by providing that particular web page that the user searched for. After that, the user will register/ sign up with BF by providing their personal details such as: their email address, physical address and real names. Assumptions made about BF: Based on the BF social network application program, some of the assumptions that can be made include: Communication concurrency: Due to the fact that BF is an online social network application, information is prone to be exchanged between the server and the client. With that, communication concurren cy should be adhered to strictly. An assumption is that the lack of communication concurrency between the server and the client will lead to data loss. Stability: Stability is critical to a social network application program. Lack of stability can cause huge losses due to downtime of the program. This is majorly caused when the servers cannot handle user’s overwhelming requests. Data security: There is exchange of data between the server and the client. Therefore, data security should be critically analysed. An assumption is