In this passage, Gilgamesh dreams of a figure who will be his equal, and interpreters tell him that “heroes kiss his feet” and that he will lead Gilgamesh. This prophetic dream frames Enkidu as Gilgamesh’s destined counterpart: not only a rival but also a partner who will shape his heroic identity. The imagery of “an axe in the street” and “heroes kiss his feet” reflects how masculinity is tied to symbols of power and violence, yet also reverence. The text suggests that Gilgamesh’s greatness requires balance. Gender politics emerge through the absence of women in this dream: the hero’s destiny is mediated entirely through male bonds. The translation describe Enkidu as Gilgamesh’s “likeness,” collapsing rivalry into mirror-image intimacy. Gilgamesh’s heroic identity is forged in masculine struggle and mutual recognition.

Camron Newcomb

CC BY-NC-SA 4.0

This moment in the Old Babylonian version underscores how gendered power is central to the hero making process in early Mesopotamian culture. Shamhat, the unnamed "harlot," initiates Enkidu's transformation from wild beast to man, and then from man to hero, not through brute force, but by teaching him to conform to gendered norms of civilization.

Importantly, civilization here is gendered male: Enkidu must learn to eat bread, drink milk, wear clothes, and accept hierarchy, including the authority of the male king, Gilgamesh. This socialization is mediated by a woman, but it ultimately renders women peripheral once male heroism is established. Even when Enkidu and Gilgamesh bond, it is through violent competition and mutual respect, culminating in a moment where Enkidu prevents Gilgamesh from pursuing the goddess Išhara, framing love or femininity as a threat to masculine heroic purpose.

Clay and Jastrow’s 1920 translation reflects early 20th century ideas about gender and morality. Their diction treats the "harlot" with subtle moral judgment, while placing more noble framing around the “mighty hunter” Enkidu. The translation also shows a preference for structured, formalized syntax, which reinforces the patriarchal lens through which the epic was interpreted at the time.

By crafting Enkidu to match Gilgamesh’s “stormy heart,” the gods frame male power as something wild, aggressive, and potentially dangerous unless checked by another man of equal force. The word “stormy” conveys emotional turbulence, suggesting that admired manhood in Mesopotamian culture was intense, unpredictable. Peace in Uruk is imagined not as communal cooperation but as the result of two men clashing until balance is achieved. This emphasis on physical struggle reflects a patriarchal worldview where masculinity is proven by combat and domination.

© 2025 Melinessa Louis Douze. Licensed under Creative Commons Attribution 4.0 International (CC BY 4.0)

The harlot’s invitation is an important turning point because it shows a woman actively guiding the male hero’s path rather than existing only as a passive figure. Shamhat uses sexuality as a form of persuasion, but the translation’s choice of the word “harlot” colors her power with moral suspicion, echoing patriarchal anxieties about female influence. Instead of being merely an object of desire, she functions as a bridge between wilderness and civilization, embodying beauty, culture, and religious order. This suggests that female sexuality is not only potent but also necessary for shaping male strength into socialized heroism. Enkidu’s willingness to follow her into Uruk and challenge Gilgamesh shows that the epic constructs heroism as relational male power defined in response to both female influence and urban culture. Unlike the Ramayana, where Sita embodies loyalty and sacrifice, Shamhat’s role is active and influential, showing how Mesopotamian traditions allowed women to act as agents of transformation, even if through sexuality framed as “dangerous.” The language of translation here is crucial: by choosing “harlot,” the text imposes judgment on Shamhat, reinforcing a patriarchal reading that might not fully capture her cultural role as a temple courtesan.

© 2025 Melinessa Louis Douze. Licensed under Creative Commons Attribution 4.0 International (CC BY 4.0).

In Phaedra, gender roles are central to the tragedy, especially through the contrast between Phaedra's forbidden desire and Hippolytus's proud purity. Phaedra is portrayed as emotionally and sexually unstable, her desire treated as both dangerous and shameful. Her downfall reinforces patriarchal views where female sexuality must be hidden or punished. Meanwhile, Hippolytus's heroism lies in his control and rejection of passion, fitting the Greek ideal of masculine virtue. rational, proud, and emotionally restrained. Compared to Sita Sings the Blues, Phaedra is a woman destroyed by her feelings, while Sita is a woman silenced by social duty but both are trapped in male-dominated systems that define a hero through emotional suppression or moral superiority. Sita, especially in Paley's version, is allowed to speak back, while Phaedra's voice leads to her ruin.

© 2025 Melinessa Louis Douze. Licensed under Creative Commons Attribution 4.0 International (CC BY 4.0).

Camron Newcomb

CC BY-NC-SA 4.0

The figure of Phineus, a blind prophet saved by male heroes (the Boreades) and rewarded with the masculine coded power of foresight reveals the way heroism is constructed through patriarchal intervention. In both Apollonius and the dramatized version by Aeschylus, Phineus is repositioned from a victim to a hero via male deliverance. Notably, the Harpies female monsters, represent chaos and disruption that must be tamed by male force, reinforcing traditional gender binaries where femininity is aligned with disorder, and masculine action with order and divine favor.

In this context, The Persians uses Phineus as a mythic prologue to set up Xerxes's downfall as a failure to embody the virtues of Hellenic masculinity: discipline, moderation, and obedience to divine will. Aeschylus contrasts the heroic male ideal of prophecy (Phineus, Darius) with the failed heroism of Xerxes, whose excessive ambition marks a deviation from the masculine ideal and leads to ruin.

Comparing this version of The Persians (as interpreted through 19th century scholarship like Plumptre’s) with Robert Auletta’s modern adaptation (1993) shows how gender is reframed over time. While Plumptre’s translation emphasizes stoic, hierarchical masculinity in line with Victorian values, Auletta’s contemporary version inserts more emotional vulnerability into Xerxes, complicating the classical heroic ideal. This shows how gender expectations shift with culture and time, revealing translation as an act of ideological transmission, not just linguistic rendering.

Camron Newcomb CC BY-NC-SA 4.0

This lyrical passage from The Persians offers a striking contrast between heroic masculinity and feminine suffering, deeply encoded in the gender politics of ancient Greek tragedy. The women are defined not by their own actions but by the absence of their men, reinforcing a binary where male heroism exists on the battlefield while female identity is rooted in passive emotional endurance.

The imagery “widow’d couch,” “pensive breast,” and “love lorn woe” frames these women as emotional vessels, symbolically tethered to the physical and martial exertions of men. Their suffering is romanticized and gendered, grief is feminized, domestic, and private, while heroism is masculinized, public, and glorified. This pattern reveals how female subjectivity is subordinated to the narrative arc of the male hero, echoing patriarchal ideologies.

From a linguistic standpoint, the poetic diction emphasizes emotional melodrama and uses bodily metaphors ("throb," "streaming tear") to anchor femininity in physical vulnerability. In contrast, men are described earlier in the text through martial ornamentation: “blazing with gold,” “proud steeds,” “massy spears,” etc. The translation here (Robert Potter’s 1777 version) clearly reflects the 18th century lens, romanticizing grief in highly gendered Victorian prose, potentially amplifying the patriarchal dimensions more than Aeschylus himself might have done in the original Greek.

Comparatively, this portrayal of women mirrors Sita’s position in The Ramayana and Soudabeh’s emotional manipulation in Shahnameh. In both cases, women are symbols of honor, temptation, or mourning, rather than autonomous actors. Meanwhile, male heroes like Rama, Siavash, and Beowulf embody courage through sacrifice and public duty, reaffirming a cultural pattern that links masculinity to action and femininity to reaction.

This annotation demonstrates how epic and dramatic literature across cultures constructs gendered heroism by emotionally loading female grief and idealizing male war-making. The juxtaposition deepens our understanding of how literary canon preserves, and sometimes critiques patriarchal hero myths.

Camron Newcomb

CC BY-NC-SA 4.0

In this scene, the Danish coast guard stops Beowulf’s ship and immediately identifies one of the Geats (Beowulf himself) as an extraordinary figure: “Never a greater one / Of earls o’er the earth have I had a sight of.” This response not only reflects the cultural idealization of the hero’s physical appearance, but also reinforces how masculinity is visually constructed and recognized in warrior societies. The coast guard reads Beowulf’s armor, stature, and composure as clear signs of high status and heroic capability, connecting external form with internal worth, a hallmark of the gendered construction of the hero in epic literature.

The linguistic emphasis on “hero in armor,” “low ranking fellow,” and “striking appearance” shows that visual markers of masculinity, armor, weapons, height, posture are treated as symbolic credentials, establishing heroic identity before action even begins. This reveals a form of performative masculinity, where being seen as a man and a hero is almost as important as actually acting like one. The narrative rewards the ability to appear heroic even before deeds confirm it.

From a gender politics standpoint, this reinforces a patriarchal worldview where male bodies are not only expected to perform heroism but also to embody it visually a privilege and pressure that aligns with martial and aristocratic ideals of masculinity. Female figures, by contrast, are often rendered invisible or are not physically described unless tied to beauty or emotional traits, emphasizing how gender roles are linguistically and culturally encoded in unequal ways.

Comparatively, this construction mirrors figures like Rama in the Ramayana, whose beauty and bearing identify him as dharmic, or Siavash in Shahnameh, whose dignity and divine aura precede his moral trials. Each reinforces how masculinity and the heroic ideal are visually coded across traditions, reflecting the shared patriarchal values of ancient epic literature.

Camron Newcomb CC BY-NC-SA 4.0

This early commentary on Beowulf draws attention to the composite nature of its protagonist, a "mixed Nature" figure blending myth and historical legend. Importantly, it hints at the constructed ideal of the heroic masculine figure, shaped by cultural memory, mythic exaggeration, and evolving political ideologies. Beowulf is positioned here as a man whose identity is not only historical or literary, but mythological, molded to meet the gender expectations of the societies that retold his story.

From a gendered lens, this portrayal reinforces a masculine heroic archetype rooted in supernatural achievement. By emphasizing “supernatural Character” over mortal vulnerability, Beowulf is gendered as more than man, he is mythologized masculinity, capable of performing feats that symbolize the ultimate virtues of patriarchal societies: strength, courage, conquest, and leadership.

Linguistically, the passage’s formal register (“futile Speculation,” “mixed Personage”) reflects the Victorian scholarly tone, but also subtly upholds patriarchal values by assuming the centrality of male heroism as the proper subject of epic literature. The gender invisibility of women in both the narrative and its analysis further underlines the male-dominated interpretive tradition in early philology and mythology.

Comparatively, Beowulf as a mythologized male hero aligns with Feridoun in Shahnameh, Rama in Ramayana, and Siavash in Persian mythology. All are men elevated to semi-divine status, reinforcing a cultural preference for men as saviors, kings, and spiritual ideals. This canonization of male figures obscures feminine agency and often reinterprets communal or spiritual archetypes through a gendered lens of masculine dominance.

Camron Newcomb CC BY-NC-SA 4.0

This passage highlights Siavash’s mythological role as a “vegetation god” figure, symbolizing death and rebirth, a motif deeply tied to cycles of nature and agricultural fertility. In terms of gender politics, Siavash embodies a masculine hero archetype, whose sacrificial martyrdom and regeneration reflect culturally constructed ideals of male heroism, where strength is paired with self sacrifice for communal renewal.

Linguistically, the text frames Siavash as a divine masculine figure “drawn to earth to carry out their duty,” emphasizing active male agency and responsibility. The repeated focus on “martyrdom and regeneration” underscores a cultural valorization of male suffering as necessary for social and cosmic balance. This resonates with the patriarchal worldview of ancient Iranian and surrounding societies, where heroic masculinity is defined by endurance, sacrifice, and regeneration.

Moreover, the narrative subtly contrasts Siavash’s enduring symbolic vitality with the loss of “sanctity and old nature” following Aryan immigration, which may reflect the cultural and linguistic layers imposed by successive translators and editors, each influencing the gendered portrayal according to their historical context. For example, earlier texts may emphasize Siavash’s divine qualities, while later versions humanize him, aligning heroism with mortal virtues.

Comparatively, this construction of Siavash parallels other vegetation gods like Tammuz and Osiris, where masculine death and rebirth cycles serve as metaphors for heroic masculinity, blending divine and human traits. Unlike many epic female figures who embody passivity or relational roles, Siavash’s heroism is active and sacrificial, a key marker of masculine ideals across cultures.

Camron Newcomb CC BY-NC-SA 4.0

In this pivotal moment, Kaweh asserts his heroic masculinity through fearless defiance against the Shah’s corrupt authority. His refusal to “lend [his] hand unto this lie” marks a bold moral stance, positioning him as a masculine ideal rooted in honor, integrity, and resistance to tyranny. The physical act of tearing the declaration symbolizes the rejection of false authority and the destructive power of oppressive patriarchy embodied by Zohak’s regime.

Linguistically, the choice of words, “wicked,” “ignoble,” and “ally of Deevs”, reflects a clear moral binary tied to gendered power, Kaweh embodies righteous masculinity, while the Shah and his associates are cast as corrupt and weak. The narrative empowers Kaweh’s masculine agency, highlighting his ability to act alone and command respect (“none dared uplift a finger to restrain him”), underscoring patriarchal values that prioritize male leadership and courage.

Comparatively, other versions of this story and adaptations may soften or amplify Kaweh’s defiance depending on the translator’s cultural context and gender politics. For instance, a more modern feminist influenced version might explore Kaweh’s role in a communal or collaborative context, but this traditional version centers on individual male heroism as the driver of social justice. This focus parallels other epic heroes like Gilgamesh or Beowulf, where masculinity is inseparable from heroic authority and moral righteousness.

Camron Newcomb

CC BY-NC-SA 4.0

This passage presents Gilgamesh not just as a mythical hero, but as part of a historically rooted dynastic tradition, with his lineage traced through a priestly father. This connection between priesthood and kingship reflects how masculine authority in ancient Mesopotamian heroism is both divine and hereditary. Heroism is gendered male from its very origin, the right to rule and to be remembered is passed from man to man, sanctified by both blood and religion.

Interestingly, while Langdon's translation was significant in making this version accessible, later scholars (like Clay and Jastrow) criticized it for errors and misreadings, many of which reinforce patriarchal norms through selective emphasis. Langdon frequently positions Gilgamesh’s actions in a romanticized light, elevating masculine conquest and omitting or downplaying the influence of female characters like Shamhat or Ninsun.

Linguistically, this version contributes to the gendered image of the hero through epithets like “builder of walls” or “conqueror,” aligning Gilgamesh with male coded acts of power and civilization. The omission of female influence in Langdon’s translation suggests not only a flaw in scholarship but a reflection of early 20th century gender norms, where masculinity was seen as synonymous with leadership, and femininity as peripheral or subversive.

• The virtues highlighted—self-control, generosity and other higher principles of life.
• Hospitality emphasized through the Persian understanding of giving gifts—communicating the ideas of returning honor.
• Patriarchal ideas of male lineage formulate cultural alliances while women are seen as diplomatic instruments.

• the ethical virtues of pietas are displayed in Siawosh’s devotion. Ritual respect understood from the perfumed letters to show adherence to the cultural order.
• Yet again, loyalty and honesty are highlighted, along with diplomacy
• “Tender green of spring”—refers to a metaphor for the joyand prospering of righteousness. This is a shift into the emotionaspects of the character.

• There is divine disfavor here—kingship is seen with Iran’s moral victory. Zoroastrian ideals are embedded in the religious perspective—truth and what it means to be righteous over ideas of evil. Courage and discipline are placed over Garsivaz’s loyalty to Afrasiyab because it supports the wrongdoing.
• There are geographical and symbolic Persians rhymthmic prose utilized in words like— balkh and Zabolestan.
• In regards to the patriarchal status, kings are the center of all power. There are emphasis on authority and succession.

• This reinforces the central tragic theme of the entire play—It is a cosmic casualty. All disaster is referred to the divine hand of the gods bringing about judgement upon the pride of the people. The belief are purely Greek in their expressions, especially in how they understood pride to be dealt with the most shameful judgement.

• The scale of the slaughter conveyed. This is seen as an act of divine judgement for the Persians.

• The hyperbolic opening to set the scene of the destress and mood.

Xerxes’ Hubris, Emotional Collapse, and Religious Politics In this passage, Xerxes' self-pity and overwhelming despair highlight the destructive power of hubris, a fatal flaw that marks him as an anti-hero. His words “Alas the day, that I should fall Into this grimmest fate of all” are drenched in emotional exaggeration, which contrasts sharply with the stoic resilience expected of a leader. This emotional outburst reveals the excessive pride that defines his downfall. Xerxes’ failure to take responsibility for his actions is compounded by his invocation of divine forces: “What power of Fate Descends, what louring gloom of hate?” He attempts to externalize his downfall, seeking to explain the catastrophic loss not as the result of his own hubris or poor leadership, but rather as the manifestation of divine wrath.

This appeal to the gods is significant in the context of religious politics in Greek tragedies. Xerxes' plea to the gods underscores how divine intervention is often invoked in times of defeat to justify a loss. This religious framing places the divine will at the center of the narrative, portraying Xerxes’ downfall as something beyond human control. However, this is not just a religious explanation, it also serves a political function. By blaming the gods, Xerxes attempts to shield his leadership from scrutiny, redirecting attention away from his own decisions and onto the will of the divine. This invocation of divine punishment mirrors the political context of the time, where rulers would often claim divine favor or wrath to legitimize their actions or explain their misfortunes.

Xerxes’ emotional breakdown and reliance on divine blame also exemplify the patriarchal mentality of his leadership. In his mind, the gods are punishing him, not because of his failings as a ruler, but because fate is turning against him. This reflection of religious politics reveals how rulers in antiquity often manipulated religious narratives to reinforce their authority. The gods, in this context, are invoked not simply as a spiritual force but as a political tool to justify Xerxes' actions and protect his reputation as king. By invoking divine wrath, he also seeks a sense of absolution, shifting blame away from his own choices and hubris.

This religious rhetoric, however, only deepens his tragic fall. Instead of demonstrating civic responsibility or personal reflection, Xerxes remains emotionally detached from the consequences of his actions, appealing to higher powers rather than confronting his own leadership flaws. The gods may be invoked, but the lack of accountability on Xerxes’ part only reinforces his status as an anti-hero, a leader undone by his pride and emotional instability, rather than a rational hero capable of taking responsibility for his choices.

This passage dramatizes the religious consequences of Xerxes’ arrogance, he dares to “bind the holy Hellespont,” essentially engaging in sacrilegious overreach. The language frames his actions as both politically and theologically misguided. It underscores the religious politics at play. Greek cultural values pit mortal ambition against divine order. Translators emphasize this hubris differently some heighten the moral tone, others soften it. Annotation links divine justice to narrative tragedy.

• Grendel is seen as the divine wrath upon the people, a curse thing. The Christian ideas of punishment and the permission of human trials by God. Grendel’s evils are condemned for killing innocent warriors. This is also emphasized by the Gummere rendition (https://studylib.net/doc/9435792/file?utm_source=chatgpt.com). Both capture the theological imagery and how the medieval scribes would have understood or edited the story to fit their culture.

• “undarkly” an old English diction meaning—clear. This provides and archaic hue by the author.

Draupadi's emergence from fire, marked by the blue lotus fragrance, symbolizes both divine intervention and a prophetic destiny tied to the destruction of the Kauravas. Her divine origin connects her to sacred forces, framing her actions as part of a cosmic order. In Hindu religious politics, her role in the Mahabharata reflects the gods' will, justifying violent conflict as a means of enforcing divine justice.

However, Draupadi's quest for vengeance complicates her status as a heroine. While her actions are divinely sanctioned, they blur the line between justice and vengeance, marking her as an anti-hero. Her willingness to destroy in the name of retribution challenges traditional moral boundaries, making her a divine figure acting through violence, not peace.

This passage is central to understanding Rama’s heroic and divine qualities, as it is the moment where the text sets the ethical and spiritual standards by which the hero is measured. The list of virtues "virtuous, heroic, true, firm in his vows, good and kind" positions Rama as the epitome of moral perfection. The inclusion of his ability to control his rage highlights the stoic ideal that was highly valued in ancient texts and religious teachings, particularly in Hinduism, where control over one’s emotions and desires is seen as a sign of a higher spiritual state.

The text also includes a spiritual dimension by noting that when Rama's "warrior wrath is high," even the gods "fear and fly." This establishes Rama not only as an exceptional human hero but also as someone divinely chosen and imbued with supernatural strength. His wrath, while fierce, is framed as a divine weapon, further cementing his role as the divinely appointed ruler and reinforcing the religious nature of his heroism.

In this sense, Rama’s actions and virtues transcend human limitations, making him both a moral and divine figure, an ideal hero who serves as a model for good governance and spiritual authority. His portrayal here connects him with the gods, suggesting that his heroic qualities are not just earthly but heavenly in their significance.

This section ties together the religious, political, and heroic dimensions of Rama’s character, and it sets the tone for his divine journey. It also emphasizes the patriarchal ideals that shape his duty as he is not just a man of action but one whose actions are guided by divine will and moral clarity.

Enkidu’s creation by Aruru in response to Gilgamesh’s unchecked tyranny embodies religious intervention in hero making. The phrase “a goddess made him” communicates divine redress, introducing Enkidu as a corrective force, or anti-heroic counterpart, governed by spiritual logic. Unlike Gilgamesh’s sanctified rule, Enkidu’s origin underscores the gods’ active role in maintaining cosmic balance. Together, these two figures reflect religious politics in action, heroism is defined not by solitary glory, but through divine checks and relational harmony.

The Assyrian and Babylonian/Akkadian versions of Gilgamesh present religious values that are central to their narratives but with notable differences shaped by the translators' cultural and historical contexts. The Assyrian version places a strong emphasis on the king’s semi-divine status and the divine mandate, reflecting a more centralized religious-political ideology. The Babylonian/Akkadian translations, by contrast, highlight the hero's struggle with mortality and divine justice, emphasizing human limits before the gods. Linguistically, the Assyrian translation occasionally uses exalted language to reinforce Gilgamesh’s divine authority, possibly to support the ruler’s legitimacy in Assyrian culture. Meanwhile, the Akkadian versions often reflect a more somber and reflective tone, revealing a nuanced view of human-divine relationships. These differences underscore how religion informs notions of heroism and morality differently in each culture and how translation choices embed the political-religious values of the time.

The fact that the terms "mistress," "harlot," and "wanton" were being used to describe Shamhat shows how they truly view women. Although they are aware of the “positive” impact she has had on Enkidu, it is almost as if she is minimized to just a promiscuous woman. Those terms in and of itself have negative connotations.

I find it interesting that Enkidu is not considered "fully man" until he experiences loss of virginity from a woman. What dictates whether or not a man or civilized? Also, what does this say about how men view women? Was this act necessary to became a civilized man? This shows how women are seen as beings who are not only domesticated but that they can domesticate others.

There is some regret and imprecatory tone in his demise here. Kind of brings sense of self-alienation because it doesn't seem like he is someone who now belongs to either world (city or wild). Becoming party of civilization has brought it total cost, which is not always enlightening.

part of his transformation into society. Nothing like the primitive creature he was before. He is becoming accustomed to the things of the world of man.

This is an example of Us vs Them boundary, because Enkidu's appearance symbolizes an uncivilized man of wild nature and unconditioned by strong societal norms. He has feminized hair an is in need of strengthening in the culture.

Gilgamesh is clearly being linked to the civilization itself. He is central to the identity of it. His knowledge is central to the nation itself. Without him, the nation would not be so great is something that con reasonably be implied since he core to its meaning.

useful list

Teaching and Learning Information Synthesis: An Intervention and Rubric Based Assessment [Description](https://pdxscholar.library.pdx.edu/comminfolit/vol9/iss1/4/)

I think there has been a tendency to leave synthesis to the domain of disciplinary specialists. But at the undergraduate level it should be recognized as a generalist skill.

I think I assumed the actual phrase was some kind of onomatopoeia...

Let me tell you, this feels like one of the biggest intellectual discoveries of my life.

I'm also pretty sure it's the fucking funniest so far.

Trad Meters

The Traditional rhythms

The meaning of punctuation in poetry

Words in poetry are immensely important.

There are many different forms of poetry with many different types that fit in those forms.

Poems are not always 'spoken' by the author but rather their personas. though they do sometimes use them themself as the speaker.

Poetry is older than writing as it was first oral. Poetry is full of feelings that lead to the meaning

Poems are diverse but contain similar elements called craft elements

little consistency with definition of poetry

what poetry is

Basis of literature, general understanding of what it is. It is divided into groups, genres or types. Genre or type is based on form employed by author. Why do we differentiate literature?

Electronic literature refers to all literature creations that can be reading digitally, an electronic device is needed.

nice case ofr liberal education

hi , sita's story CCBYND ndri

open pedagogy/info lit connection

This is an under-examined aspect of info lit

Project by Serge Bouchardon and Erika Fulop

Is there a way to make connections with similar groups for technologists of color &c.?

Some cautious parallels to make with gender and disability where race is not part of the identity mix

Small wonder that white women are the primary beneficiaries of affirmative action.

A good point -- how can applications be open and welcoming to people whose names have changed? Is there a model or the start of one in the attitudes toward women who have professional experience under more than one name, where the name changes are unrelated to gender-based change?

JMo - Women role in Literature

nature abhors a Vaccum - Aristotle quote

https://news.tulane.edu/pr/roll-over-aristotle-nature-doesn%E2%80%99t-always-hate-vacuum - defending against this quote by their research (click above link) - explained with new chemistry jargon - bowl-shaped molecules called cavitands

The CRAAP test is crappy if taught crappily.

targeting info and ads to consumers has long been a goal of media companies.

thondaraai ninru

devotional myth mindset of tamilians about our history

Information-Message-Word-Concept-Knowledge-Mind architecture

Intro to Objectivist Epistemology - Rand

Function of Language in articulating concepts in to vocabulary word

restricting copy-paste in webpages

=> allowing their words results in their literary estimation. we dont live in commerce. we live in knowledge sharing generation today

How wisdom is superior than knowledge

...in order to not involve in the trouble that is happening in front of the eyes, whether he is a wise person

1st science fiction on climate change

... I doubt whether பார்ப்பார் does mean really to பார்ப்பனர்கள். this was gambling situation between chola king and scholar

what are the alternate approaches of cryptocurrency investor if not turning into rupee

What is Blockchain

What's missing when we frame ethics in terms of IP, plagiarism and academic integrity is an ethical duty to pursue truth.

a core info lit skill, but perhaps difficult to assess

mayanila on sivan head

...even vishnu could not find it when siva sent vishnu and brahma to find who is greatest of the lords

Reduction of complexity - how my PKM can be thought in terms of thermodynamic systems principle ?

... i remember this studying in my schooling (8th i think)

*so, my notes are less complex and the outside info (eg. LCC or upsc info) are highly complex

மழைப்பாடல் alias or other name

viduras strategical thinking

• trend phrase for passion believers

Bird cries

• pied rainbow

Theory of Everything - Wind Pressure

diffbetn air and wind in tamil

• ...there is a concept in evolution called [[Balancing selection]]

cognate-reflex

கண்டடைதல் எடுத்துக்காட்டு

• Alauddin Khilji marauded his army to chittoor for Padmavat

Elephants are armour tanks in Ancient Indian Battle

• [[=!R How Elephants in Ancient Indian Battle are fierce giants]]

  To the hypnotic beating of battle drums, the elephants were followed by bands of elite hereditary warriors wearing loincloths and minimal armour, also drunk on alcohol. Darpasata - comes in next lines of this article - Banabhatta in Harshacharita (Harsha's deeds)

Obsidian prog lang architecture

SIP Averaging benefit in high volatility (aggressive hybrid funds)

• ? role of correction

Benefit of SIPs

• Q makes sure that you don’t overspend and skimp on saving.

• It doesn’t give you the excuse to put off investing for the next month.

• For the salaried especially, with income coming in every month, SIPs are the best way to ensure that investments happen.

• SIPs allow you to slowly and surely build up wealth.

• ...Does it mean my SIP investing during upswing market and correcting at downsing through correction
• long market downturn to average

2 factors needed - lower averaging costs (shifting to lowered overall investment costs)

1. => Stock market correction
2. => Steep Bearish market longtime

Averaging Cost role in SIP

Temporal tagging Jump note

=> Aesthetics in Lierature can be in other way called as...

• Literary embellishment

Demerit of monarchy

Last supper of Kovalan

• anklet laughing at kovalan

Theme and values in Silappadikaram (story of anklet)

=> why kannagi was called pathni/karpukku arasi (Queen of chastity)

R? Tamil authors of metaphysical and theoretical Sanskrit works

• check their periods whether they are really one and the same ...it gives me speculation that author depicts tamil classical literature is influenced by Sanskrit cynics

=> what is nominal GDP

• orly Does Modi strict government induce economic growth during COVID

R? - clear about Fiscal dominance

=> even health budget is 2.4%, but on public spending on health is <1%

• how can I generate random highlights from my sources
• why dont I get highlights from assorted mind picked categories (what I Listed in [[Dark matters]] with concept info and value)
• In this article, here I have the example for Concept, Info and Value
• Create in [[Assorted Random Highlights for CIV mind reflection]]

Radio altimeters 5G band interference

=> i used to rent

HITS Centrality algorithm

• the currently focused note is in bold format in the list.
• I think it lists the main overlinked (overcited) note in the vault

self-confidence or assurance, especially when in a demanding situation.

Persian (by Edmund Dodge Anderson Moshead). The queen did not speak for a period of time because of excessive grief and was so sad that she was tired. This passage of Moshead version Stood, sank, and died and left us leaderless? Let me understand that Persia has lost its leadership and has entered a state of total despair. The queen can feel tired because she was hurt too deeply. She lost her son and husband and left her speechless for a long time. This paragraph is not described in Aeschylus. From this passage, Moshead can tell that she is very pitiful. Both versions told me that it was very difficult for her to live as a woman, and she became a widow without her husband and children. Especially under this kind of shock, she must bless the last drop of hope. The hope is that the last Persian fleet defeats Greece. But she was still defeated, so her last hope was destroyed. It is not easy for her to be a woman, but this passage shows the love and mentality of being a mother or an expressive mother for her children.

SHANGBIN WU CC BY-SA

The Persian (By Edmund Doidge Anderson Morshead). The queen dreamed that her son was lost in the war. She especially said in the last paragraph, my son was thrown away. I can see that she is surprised and terrified, but also very worried. At the same time, like the Aeschylus version, it also describes her worry and fear of losing her child. But Aeschylus did not describe in detail how her child was lost. The Morshead version described in detail that her son's head was pierced in by auto parts and then lost his life. This version can be more graphic, and I can feel from the text that the queen is very nervous and scared.

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The Persian (By Edmund Doidge Anderson Morshead) The queen appeared in the same noble posture. Whether from Morshead or Aeschylus version, we can see that the authors of both versions gave the queen a very high evaluation. She is the old mother of Xerxes and the old wife of Darius! His Majesty, the son of God. So we see that she is still highly praised by the author, and she even has a certain relationship with God with her "god-like luster". This can more powerfully prove that as a woman, she is a very high-powered person, and is the person who influences the whole story.

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The queen is a very tragic person. Because of war, she lost her husband and her son. Her happiness and pride have left her, she not only has to live in sorrow but also in hatred. As a woman, she still has to live with strength. She is now a widow, and I can realize that she has to live for this grief every day. And it is not easy for her to live as a woman, and she has the last gleam of hope that her country’s Persian fleet was defeated and shattered. So this woman is very miserable, and I can see from this text that the author described the queen's unwillingness and helplessness.

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She could not accept Persia's failure and the loss of her son. She did not believe that her Persian army would fail. So she started screaming for relief and wanted to know the process. This proves that the queen is very anxious. From this simple passage, we can see that the queen has lost her sanity, and she has a vengeful heart anyway.

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In this paragraph. The queen was too worried about her son and played the role of maternal love for her son. She dreamed of the death of her son. And worry about his son. So she did everything for her son, and the whole tragedy is all around her.

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Queen, in the tragedy of the Persians. She is playing a very important political role. She controlled the progress of the whole tragedy for her son. She played a lofty position among women. And the author gave her a high evaluation. Her evaluation is that "she even has a certain relationship with God with her "god-like luster"." From this point, it can explain how noble and important her status is.

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The Babylonian version of GILGAMESH. A hunter was angry when he saw Enkidu. And tell his father. The father suggested that his son take a woman to deal with Enkidu when he sets out. After letting the woman take off her clothes in front of him and having intercourse with him, let him abandon the animals in it. Compared with the regular version, the Babylonian version does not describe Enkidu as the strongest person in the world. My father didn't use the word "Harlot" to describe this woman. And he didn't ask his son to go to Gilgamesh, he just asked him to take this woman to Enkidu. However, from the text of the Babylonian version, we can see that the Babylonian version respects women very much compared to the original epic. But these two versions of the epic have one thing in common, that is, women play a very important role in the epic. They can do things that boys can't. Women are used to doing some negative things. Both versions of men are very cowards and incompetent. However, the Babylonian version does not call Enkidu a savage, so this one is more civilized.

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The Babylonian version of GILGAMESH. Enkidu threw an entity on the face of the goddess and added an insulting remark. Although there are not many texts in this passage, judging from this reaction, it can be seen whether it is the Babylonian version or the ordinary version. Men always play a bullying, barbaric, and violent role. Women are always the objects of seldom being respected and humiliated too much. What's interesting is that in the normal version, only ordinary women are humiliated, and the goddess is always a respected existence. Although the Babylonian version does not have negative words about women, it can be seen from some text of behavior that it is also an excessive disrespect for women. At the same time, the goddess was emotionally unstable because of Enkidu's behavior. This completely broke the perfect and noble image of the goddess in this epic.

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The Babylonian version of GILGAMESH. Gilgamesh's mother told him directly, don't believe, your power will be warned. And let Enkidu go ahead of him. Because he is good at fighting and has seen fights. This passage is more like making Gilgamesh use Enkidu as his bodyguard. But in the normal version of Gilgamesh, his mother was imparting wisdom to Gilgamesh and told someone that would change Gilgamesh. And Gilgamesh will like this person very much and will change because of this person. This person is Enkidu, so Enkidu will be valued and respected very much in the regular version. In the Babylonian version of this text, the mother did not impart wisdom to Gilgamesh. The mother did not show to be the goddess of wisdom, nor did she mention the characteristics of women who lived in this epic. There were no negative images and excessively positive images. On the contrary, I saw more intrigue, because she let her son walk in front of him with Enkidu. This means that Enkidu is just a tool similar to his bodyguard.

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The Babylonian version of GILGAMESH. The people were forced to submit because of conquest. The authoritarian rule caused Erec's people to pray to the goddess. So Aruru created an opponent for him that could resist him. Compared with the usual version of the epic Gilgamesh. The usual version is telling people are ruled by Gilgames. But this Babylon version is telling that people are conquest and live in an authoritarian, so they ask Goddess to help. Babylon did not talk too much about the goddess Aruru. But we can still see from this version that Aruru, as a woman, comes from a lofty position and a powerful force. Whether it is the Babylonian version of the epic, or the ordinary version of the epic, it is a great existence. Therefore, women play an irreplaceable and great role in both two versions of the epic of Gilgamesh. But this Babylonian version does not describe women too much, so compared to the normal version, this version is more likely to rarely see negative stories about women. More to describe the positive image of women.

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Gilgamesh had a dream. He dreamed of his wise mother, Ninsun. One of the gods of wisdom. His mother told him Gilgamesh's dream. When the mother explained his dream, Gilgamesh was attracted by a woman, and Gilgamesh would be drawn like a woman when she saw him. So Gilgamesh's mother appears as a female character; she represents wisdom and hope. Because her mother taught Gilgamesh a per of wisdom he never had before; this also shows that women are an excellent and intelligent existence in this epic. His mother also told him that one person would change Gilgamesh. She is instructing him. This person will save Gilgamesh, and Gilgamesh will change because of this person. So this also proves that his mother's role as a female can also change and guide others.

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The son ran to his father and told him that he had met someone stronger than himself. He was afraid. Not only did he dare not face this powerful enemy, but he also ran to ask his father for help. The father used a woman to deal with the strongest man and used the word “harlot” to address a woman. From this, we can see that this epic discriminates against women, and most women play miserable roles. You can also see men's cowards. Including that Enkidu is a savage, another meaning of this sentence is to say that he is a civilization. But because the epic has such a passage, you can see the characteristics of this epic. This is a feature of prejudice against women, and men are noble.

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She taught him the art of women and made Enkidu fall in love with her. She made Enkidu, a man known as the strongest man in the world, weak, and she made the strongest man listen to her. This tells us that women are very powerful. They can do things that men, including heroes, can't do.

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Men show the arrogance and prejudice of men. To deal with the strongest person, a vulnerable group such as a woman and a child was used to deal with this strongest person. But on the contrary, this can also show that women are also very powerful; without women, men like them can't deal with the strongest person. It can also prove that women played an essential role in this story. In a sense, women are heroes in this epic.

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When Joseph was presented to the king, he did not claim to be innocent but took on the punishment that he was given. This is how we know that he knows that he played a part in the incident with the king's wife. He says himself that the soul wants to do evil but god is the one stops the evil from happening. And so he was forgiven by the king to work along side him. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

Maybe Satan caused the inmate to forget about Joseph because Joseph had mentioned that only his true God was the one worth believing in. Whether it's religion or our own arguments we are all like Joseph. We all want someone to believe our story or be on our side or just be understanding. When we add religion to the mix, it's a different kind of understanding that people want to receive. It's not so simple as saying "believe in my god." (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

Although they both lusted after one another, the woman got blamed for it. Unfortunately this is not a surprise because whenever a man does something to a woman, it was the women's fault. 'What was she wearing, what was she doing, she must have said something or done something to provoke the man to make a move.' That is what people will say. Maybe the woman acted this way because she didn't want to lose her husband or her way of living but it was unfair for Joseph to only get punished for what they both did. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY NC

This right here is interesting. In the bible version or the Torah version, the woman was the one who was drawn to Joseph. In this version, they were both drawn to one another and it was the god who kept Joseph from the woman. He wasn't a loyal servant because of his character, he was a loyal servant because that's who god made him to be. Very interesting compared to Gilgamesh where Gilgamesh was created by the gods but he had complete control of his actions. Because of his strong personality, the gods actually had to make an equal to stop him. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

The god allowed for Joseph to get captured because he was going to make sure that Joseph rose to a high place and prove his brothers wrong. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

In this version, we see that Joseph tells his father about the dream that he had of his brothers bowing down to him and Jacob is wise enough to inform him not to say anything to his brothers because he knows that it will make them jealous. However, it's not the dream that makes them jealous, it's the fact that Joseph is clearly the favorite brother. Here, Jacob instructs him to keep listening to God because at the end of the day he is the one that is going to make everything okay. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

Their father Jacob knew about Joseph being alive through his god. The sons tried to keep it a secret like they did when they got rid of him but this time god make sure that he knew Joseph was safe. What happened once was not going to happen again because Joseph had risen up to a good position and made a living for himself. Now his brothers needed him to provide for them. Among brothers, it must have felt like they wanted their father's attention and tried to prove that they were being raised to be good men. Instead they proved they were bad men by leaving their brother behind for dead. Joseph didn't owe anything to his brothers. But instead he chose to be the bigger person and provide for them in a time of famine. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html) CC BY-NC

In the other version of Joseph, the vision or dream made Joseph seem like the bad guy who wanted to rule over his brothers. Instead the fulfillment of his dream showed that one day there would be reconciliation between the brothers after they tried to kill him. (Itani, T. (n.d.). Quran in English - Clear and Easy to Read. Quran in English. https://www.clearquran.com/012.html)

I feel like in this paragraph all the names that the chorus is saying are men who went to fight in the battle of Salamis and they're trying to say some kind of protection over them. They are also setting the scene for what is taking place so far in the play which is a battle.

By far the best part. A lot of plays rely on bringing people back from the dead to get their point of view of cross. In this case, since Darius is known as the 'king of kings' maybe the author wanted to know how he would react to a terrible defeat. As the reader, we get read the perspective of a person who has already passed away in the time of writing this.

As a Greek writing about the most powerful empire in the world, Aeschylus must have had a lot of fun imagining how the palace in Susa was in shambles due to the Greek warriors defeating the Persian warriors. So much so that the queen is panicking, the elders are panicking and the messenger is is retelling in detail how horrible the battle is going. It's a mischievous undertone when you read it from that perspective.

This made me think of the female naval officer and the Greeks. One born in Hellas would be someone betraying Xerxes in Greece and the one born in an eastern land, the female naval officer (forgive me, I forgot her name) was the queen of a land called Libya in Turkey. She was the one who helped Xerxes and gave him advice although he never took the advice because of his huberus.

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Joseph’s brothers were filled with jealousy and hatred. Their father loved Joseph more than any of them, which is unfair. They teased Joseph as a dreamer; This happened after he said he saw a dream. The brothers decided to sell him to merchants from Midianite, and those merchants turn to sell him to Ishmaelite merchants. The brother told their father Joseph was dead. There was just too much jealousy in their heart that led them to sell their brother. CC BY-NC-ND

In this story we see an adaptation of the Hindu Ramayana tale which details the rocky marriage between Rama and Sita. This story is focused on Sita and how heartbroken she is because of the way things are with her and Rama. That is the reason why she sings the blues. CC- BY-NC

We see a lot of different narratives in this play. One of the narratives is Dave with his girlfriend and the cat. Another one is the shadow puppets who are talking about Sita and Rama and basically are arguing about who knows the story and who's story is the correct one. And lastly we see the narrative of the songs. All the different songs explain parts of the story and make the reader more interested. CC- BY-NC

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She is a woman, not a harlot. This shows that sex was considered to be less taboo for this translation, and she is treated like a woman and not an object, as well as not being treated like a prostitute, as that is the definition of Harlot.

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In this version of The EOG, It shows that Langdon, the man who discovered these cuneiform tablets, believes that "These dreams are recounted to Enkidu by a woman who with whom Enkidu cohabits for six days and seven nights" In the N.K Sanders translation of EOG, it seems that this would be where the "Harlot" comes in. However, This is different. The woman is described to be almost like a priestess, someone who interprets dreams and just so happens to have sex with Enkidu. This was not a weird or taboo subject, (Probably because of the fact that this is the Babylonian version and more older.) and she is not treated like a Harlot. She is treated with respect, as a priestess. She is simply helping Enkidu become a better hero and helping him get into society, and this is acknowledged instead of being treated badly.

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This shows a double standards in regards to gender and sex. A woman who has a lot of sex is referred to as a "Harlot". Meanwhile, Gilgamesh has sex with every virgin on their first night of marriage, and while people don't like it, they don't do anything about it, and they don't say anything about it as well. They don't give him a name either. This shows the female gender has a taboo towards sexual activity and men's sexual activities are more accepted. This is most likely because man is seen as dominant and brutal but women are seen as civil and fragile and the best example of class.

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The manner in which the "Harlot" controls Enkidu, is through sex. This shows that the woman has the power to control man and make him civil. Woman is seen as the most civil thing at the time, and sex with a woman gets rid of any ancient animal like tendencies and makes a man civil. Which is what happened here with Enkidu and the Harlot. Yet, no one calls the harlot a hero for making Enkidu civil.

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