Military Industrial Complex Essay Example | Topics and Well Written Essays - 1500 words

Military Industrial Complex - Essay Example The Military Industrial Complex is more than just a weapons supply system. It is a unique partnership that continues to exert substantial power and influence, has sustained America's arms superiority, and reshaped the American landscape as well as its economy. The beginnings of the expansion of the MIC can be attributed to Captain A.T. Mahan and his book The Influence of Sea Power upon History, 1660-1783 (Liu 2). The book, published in 1890, was a series of lectures that Mahan had given at the Naval War College. Mahan's book initiated the beginnings of an expanded civilian shipbuilding business to supply the Navy with warships. Subsequent to the publication of Mahan's book, the first US battleship was built in 1893. Under the leadership of President Theodore Roosevelt 1901-1909, an advocate of Mahan's theories, American civilian shipbuilders built 129 battleships under his administration (Liu 10). This major military buildup is generally viewed as the beginning of the MIC. World War II and its reliance upon the MIC had a profound effect on America both demographically and economically. During World War II, the Department of Defense spent in excess of $70 billion on civilian aerospace and defense contracts of which most were directed into California and the Southwest ("The Rise of the Sunbelt"). This increased spending in the region gave rise to the areas massive migration and sowed the seeds of the decline in the 'Rustbelt'. With the reliance on new technology, the military depends on civilian contractors for research and production. The nuclear buildup of the Cold War was an example of the MIC at work. It has been estimated that during the Cold War, the MIC employed 1 out of 3 research scientists and engineers in the US and spent 60% of the research and development dollars available (Cypher 37). This spending in the civilian sector by the Pentagon forms the backbone of the modern MIC and fuels the powerful influence it holds and creates the anxiety that it generates. The MIC is often viewed as a partnership that was formed during the Cold War in an effort to maintain "...peacetime defense spending to 'wartime' levels" (Bruntin). The fear through the Cold War and Vietnam was that this self-interested group would promote their own agenda at the public's expense. Reports of corruption, bribery, and fraud have served to maintain this image in the minds of many Americans (Bruntin). As the Cold War wound down the public anticipated a peace dividend that never arrived. The MIC has been subsequently put to use against new international enemies and the war on terror. The MIC is a cooperative effort between the military, industry, and the government. Sometimes called the iron triangle, the alliance between these groups is a necessary factor in America's arm superiority. The military has the motivation to keep an ongoing civilian supply of weapons research and development, even in periods of peace. The contractors have a need to continue to receive tax dollars to maintain their revenue stream. Politicians have an interest in maintaining a strong military, and contract dollars are fought for as politicians seek to

Globalization in Transition Paper Research Example | Topics and Well Written Essays - 1500 words

Globalization in Transition - Research Paper Example It is in the interest of the welfare of humankind to allow a new system to emerge. What has happened about globalization so far, challenges the imagination of all concerned. It is impossible to predetermine or predict the outcomes and the shape of things to come. Human intervention and creativity have reached new zeniths and the developments that have taken place in various segments of globalization do not fall within the definitions of Capitalism, Communism, Socialism or Theocracy. Spread of democracy in the hardcore communist countries, which resulted in liberalization of trade relations, is also an important factor in hastening up the process of globalization. Narrow perspectives of nationalism have failed to check the economic reforms that are part of the process that accelerates the pace of development. The discussion is no more about whether there should be reforms to facilitate the march of globalization; it is about the strategy to implement reforms. The importance of transit ion economics is an accepted fact. The tug of war of votaries of globalization and the local manufacturing and local food markets will continue and the ultimate gainer is the consumer, as he has the choice. Globalization—its reach Is it possible to reconstitute local manufacturing and local food markets, or has globalization ultimately made this impossible? A straight forward answer to this question is impossibility. It is an admitted fact that the narrow domestic walls have crumbled. Firstly, let us try to understand the institution of market. The complex market institutions cannot develop in a theoretical or laboratory setting and then transplant them to economy. For the markets, transition to the ground realities is a complicated exercise. Institutions will take a long time to reshape and attain perfection. Globalization has challenged and will continue to challenge many of the old social and economic norms. Many such norms will die and many will need complete rejuvenation . Getting the reforms off from the national to the international ground calls for tough choices. One has to be realistic about the possible achievements, while giving up the existing set up in favor of the new one. Advantage Globalization Countries need an active domestic agenda and remain ready to follow the path of economic reforms well in time, to challenge the environment of integrated world economy. The domestic front needs to develop the fine sense of anticipation to capture the gains of globalization. Globalization is multi-dimensional. Global trade volumes are on the increase for more than one reason. Every country would like to take advantage of the technological breakthroughs and no one minds from which country it originates. Technological innovations have boosted immensely the quality of life in many countries of the world, but at the same time this has benefited the rich section of the society and the poor have no means to share the benefits. Volatile capital markets do not go well with the economy of the developing countries. The experts in the field of economics and commerce are not sure about the contribution of trade to the superior growth performance of the votaries who followed globalization. A country opens up trade channels and many domestic policy changes go in tandem with it. So it is difficult to assess the contribution

Research where are the IFRS are significantly different from current Paper

Where are the IFRS are significantly different from current Canadian GAAP - Research Paper Example This demanded a certain degree of similarity in the accounting standers and many international accounting bodies come up which assisted development of Generally Accepted Accounting Principles (GAAP). The aim of GAAP is provide rules related to preparation, presentation and reporting of financial statements. GAAP is combination of all the Accounting Frame works, Accounting Laws, Accounting Rules and Accounting frame works. At present Financial Accounting Standards Board (FASB) has the highest authority to establish GAAP which has to be followed by public and private organization. In US, the financial reporting is controlled by Financial Accounting Standards Advisory Board (FASAB). These GAAP brings standards which help Stakeholders to understand present condition of the company, and on the basis of their analysis they make decisions related to credit, investment and other vital financial decisions. But it has been found that the GAAP suffers with certain limitations, like inter indust rial comparison is not possible if GAAP is taken into consideration for financial statement reporting, also certain vital information related to the companys performance are not presented on the financial statement sheet while following GAAP, which are necessary for the merger and acquisition process. So to overcome these hindrances, concept of International Financial Reporting Standers (IFRS) came into existence. IFRS consist of standards, interpretations, and frame works which are to be taken into consideration while preparing and presenting financial statement of a company as adopted by International Accounting Standards Board (IASB). Actually, IFRS is the rename of International Accounting Standers (IAS) which was proposed from 1973 to 2001 by Board of International Accounting Standards Committee (IASC). In the historical event of April 1,

Roads and Transport Authority Coursework Example | Topics and Well Written Essays - 1000 words

Roads and Transport Authority - Coursework Example In this regard, the report for indicate information on the following: (1) a list of the main products and services; (2) an identification of the main customers; (3) the purpose and goals of RTA; (4) an analysis of a minimum of 4 external factors and their impact on the business activities of RTA; (5) The structure and at least 4 functions of RTA; (6) an explanation of how these different functions work together within the organisation to optimise performance; and (7) an identification of the culture of the organisation and at least 2 ways this affects operations. The official website of the RTA (2011) revealed that the organization is â€Å"responsible for planning and providing the requirements of transport, roads & traffic in the Emirate of Dubai, and between Dubai and other Emirates of the UAE, neighboring countries in order to provide an effective & an integrated transport system capable of achieving Dubai's vision & serving the vital interests of the Emirate† (RTA, par. 2 ). Since it is a service and governmental organization, its product is the service of providing crucial functions of road safety and effective management for the transport system of Dubai. Its main customers are all commuters and drivers of buses, taxis, inter-city transport, marine, rail, and those affected by traffic and road management and safety. Its mission is to â€Å"prepare legislation and develop integrated solutions of road systems and land/marine transportation networks that are safe and in line with Dubai’s economic development plans and the highest international standards† (RTA: mission, par. 1) with the goal of ensuring safety and smooth transport to all commuters at all times. Since the organization is focused on road safety, the external factors that impact their operations are: (1) environmental (weather conditions and disturbances); (2) political factors (changes in laws and policies); (3) economic conditions (taxes paid by the public, purchasing powe r, rate of infrastructure development); and (4) technological factor (updates on the IT used in systems and procedures in RTA due to external advancement; the condition and status of the vehicles). The official portal of the RTA indicated that â€Å"it is responsible for planning and executing transport and traffic projects in Dubai, preparing legislation and strategic plans, planning and constructing the Dubai Metro, developing other integrated solutions of road systems and marine networks that are safe and in line with the city’s economic development plans and the highest international standards† (RTA: profile, par. 1). The functions of planning, organizing, directing and controlling relevant legislations, rules and policies on road safety and management are crucial to ensure that there is a smooth transition and governance of transport administration. Since the RTA is a governmental organization, the culture, values, beliefs and practices of the Saudi people are man ifested. The flag, king, borders, regions, population, currency, landmarks (Kingdom Center) and food have shaped the lives of this nation. The cultural traditions, values and beliefs helped them stand out as one of the largest and richest countries in the Middle East. Therefore, any celebration of the rich cultural tradition impacts the administration of traffic and road safety in terms of determining the number and route of commuters and vehicles that could possible converge in commercial districts or religious institutions, as the situation warrants. Activity B Given the scenario that one’s Executive Directors are proposing to reduce the size of the HR section, or even close the function completely. One is therefore tasked to write a short report to the Board that supports the retention of the HR

Great Gatsby, Detailed Analysis, Passage Chapter 1 (p.13-15) Essay Example for Free

Great Gatsby, Detailed Analysis, Passage Chapter 1 (p.13-15) Essay In this passage Nick Carraway is visiting his cousin Daisy and her husband Tom Buchanan, a former member of Nicks social club at Yale University, on East Egg. Inside, Daisy lounges on a couch with her friend, Jordan Baker, a competitive golfer who yawns as though bored by her surroundings. As Nick enters he describes his two female companions in extreme detail. F. Scott Fitzgerald uses imagery on many occasions to aid the reader to picture the setting. He describes the womens dresses fluttering in the wind as though they had just been blown back in after a short flight around the house (p. 13). Fitzgerald also illustrates the women seeming to be buoyed up..upon an anchored balloon (p.13). He repeats the metaphor of balloons as he recounts that they seem to be ballooning to the ground as the wind calms. Nick, the narrator, goes on to describe his company. He does so in extreme detail. The author does this as to help us visualize Nicks situation. The theme of white is inaugurated in this passage (They were both in white, p.13) emphasizing the innocence and pureness of Daisy Buchanan and Jordan Baker. Fitzgerald makes the visualization of the visitation very simple for his readers by using vivid examples (her chin raised a little, as if she were balancing something on her chin, p.14). He makes her appear almost statuesque. Jordan is portrayed as having a bored and apathetic attitude about everything, which is all part of her I am too good for you appearance. Jordan Baker seems to be ignoring Nick upon his entry (If she saw meshe gave no hint of it-, p.14). This looks as though Jordan is playing hard to get. The mind games could be seen to be conveying that she is attracted to Nick. The narration stops and we hear Daisys voice for the first time (Im p-paralyzed with happiness, p.14). Nick mentions her lightheartedness Daisy Buchanans illustration is very descriptive. She seems to have taken a greater deal of interest in Nick although there does appear to be a hint of awkwardness in the room, possibly due to the fact that the two have not seen each other in a lengthy period of time. She is not labeled beautiful, the reader does however get an inkling that she is, as there seems to be a sort of aura surrounding her (That was a way she had. p.14). The narrator tells the reader a little bit about himself and how he is not used to the posh lifestyle of the people of East Egg (..any exhibition of complete self-sufficiency draws a stunned tribute from me, p.14). This could mean that Nick is used to a more family orientated lifestyle were friends and family supported and trusted one another more. As the conversation between Daisy and Nick continues, Scott Fitzgerald decides to go into even more detail about Daisy. He catalogs her speech in extreme detail (..in her low thrilling voicethe kind of voice that the ear follows up and downas if each speech is an arrangement of notes., p.14). Nick does not only comment on Daisys voice but also her general appearance, her face, her eyes and even her mouth. The narrators portrayal of Daisy leads the reader to believe that she is a person of great beauty. A lady with whom one could easily fall in love with. Nick is almost obsessional about his cousin, Nick not being the only one in the course of the book. F. Scott Fitzgerald really triumphs in his use of language. His language is full of concrete verbal images which are incredibly appealing to the senses. Furthermore his descriptions of setting, characters and symbolism are in such sheer detail, it is impossible for the reader not to begin imagining what it, she, he or they must have looked or even sounded like. This passage introduces us to two of the novels major characters, Daisy and Jordan. It it also the first time we get a real taster of F. Scott Fitzgeralds descriptive abilities.

Gran Torino Review Film Studies Essay

Gran Torino Review Film Studies Essay Gran Torino, directed by Clint Eastwood, is a very moving and captivating drama. Its a simple story about tolerance and cultural differences, but also one of hope, self-sacrifice, and unlikely friendships. A former auto worker at Ford, Walt Kowalski has just had to put his longtime wife to rest when the story opens. From his scowl, it looks as if he would like to join her. Instead he sits on his front porch chugging can after can of cheap beer in the company of his yellow Labrador, Daisy, while watching the world at a safe distance with a squint and a stream of bitter commentary. The remaining members of his family, including two sons with big houses, big cars, big waistlines, have no choice but to let him stew alone. Gran Torino tackles racism head on. Although the main character Walt Kowalski, played by Clint Eastwood, is prejudiced against almost everyone, the film focuses on an Asian neighborhood, uncovering racism and violence. The neighborhood has gone down hill since it has become immigrant-dominated. The house next door is now owned by a Hmong family, a widespread South-east Asian minority, and Walt does not trouble to distinguish them from the Koreans he fought in the 1950s. Throughout the film, we learn Walt had to kill many Koreans as part as his duty as a soldier during that period of time. The film takes a twist when the bitter old war veterans life takes an unexpected turn after Thao, a shy, teenage boy who lives next door to Walt is bullied by his thuggish cousin and no-good buddies into joining their gang. His initiation test is to bust into Walts garage and steal his treasured 1972 Gran Torino. Sure enough, Thao does as the others ask. While trying to steal the Gran Torino Thao tr iggers Walts halogen security lights and Walt comes out running with an assault rifle. Little do Walt and Thao know, their meeting will change both their lives forever. Thaos family, led by his mouthy, friendly sister, Sue forces the teenager to do pay his dues from trying to steal Walts car by working for Walt, an arrangement that pleases neither the Walt nor the Thao. As the story unfolds and the gang members return and Walt reaches for his gun, the film moves from comedy into drama, and then tragedy into something completely unexpected. The film takes a hard look at a Hmong community and the gang life within as it twists tough situations until its truly exposed, finding a few laughs at the core. Gran Torino portrayals real life drama while injecting it with some necessary comedy, which gives it a bit of a balance and keeps viewers even more entertained. The way the comedy weaves effortlessly in and out of the gritty Clint Eastwood film makes it an even better film for most to enjoy. Clint Eastwood has a great and useful skill of creating terrific drama films with a message, Gran Torino is one of those films. Like many of Eastwoods other films, he plays a role that involves a stereotypical toughness. This film can be seen as a interpretation on many issues encompassing gangs, racism, the disrespect of the youth culture towards their elders, and forgiveness. To me, all of these issues tend to come to mind when reminiscing about the film. I truly believe these are what the film is really about and what it was meant to be about. Throughout the film, it is mind blowing to see many of the characters change for the better throughout the film, especially Walt. This is yet another great film from Clint Eastwood, and its a film that addressees important issues that cant be ignored. Although, some may say that Gran Torino may not be the greatest work by Clint Eastwood, I believe the film did a splendid job in terms of race issues. Gran Torino is a good example of a film th at takes an unbiased look at race issues. This is a well made film, and its not just giving you straight advice like most films dealing with similar subject matter. Melancholy is imprinted in every long shot of Detroits devastated, emptied streets and in the faces of those who remain to still walk in them. Made in the 1960s and 1970s, the Gran Torino was never a great symbol of American automotive might, which makes Walts love for the car more moving and emotional. It was made by an industry that now barely makes cars, in a city that hardly works, in a country that too often has felt recently as if it cant do anything right anymore except, every so often, make a movie like this one. The drama, Gran Torino provides a surprisingly enlightened view at understanding cultural diversity within a rapidly evolving American neighborhood. The movie interjects the need for communication, understanding, and a return to middle class values in a youth oriented culture. Gran Torino expresses an issue that has been one of conflict in our society today; racism. Walt Kowalskis attitude towards minorities seems very prejudice and close-minded. I believe Gran Torino is about two things. It is about the late blossoming of a mans better nature, and it is about Americans of different races growing more open to one another in the new century. I would recommend this movie to anyone who enjoys a drama/action film, and doesnt mind some foul language to go along with it. I think to some people this film can be a eye and mind opening experience. I believe it is important for people to see both sides of such a controversial issue, and that change is probably necessary in one way or another f or understanding, respect, and peace to surface

Analysis Of Dantes Inferno English Literature Essay

Analysis Of Dantes Inferno English Literature Essay Dantes Inferno represents a microcosm of society; that is, laymen, clergy, lovers, wagers of war, politicians, and scholars are all collected into one place and punished for their worst and most human attributes. Hell, despite its otherworldly appearance and brutal, ugly nature, is somewhat humanized by the fact that those who are punished come from every country (Dante 3.123) and every walk of life, regardless of age, race, sex, or creed. While Dante Alighieri did not invent the idea of Hell as a place of punishment for the wayward and sinful souls in the afterlife, he did create the most powerful and enduring (Raffa 1) imagining of a concept which has received significant attention in biblical, classical, and medieval works. Dantes Divine Comedy was written sometime between 1308 and 1321 and is considered the supreme work of Italian literature (Norwich 27). It is an epic poem divided into three separate sections: Inferno, Purgatorio, and Paradiso Hell, Purgatory, and Heaven, res pectively. The personal element of the journey through Hell in Dantes Inferno literally explores the descent of one man into sin; through the use of poetic justice, both contemporary and historical figures, and mythological figures, Dante crafts an immediate and enthralling work dealing with the nature of sin and its place in society. The concept of poetic justice is famously explored in Inferno, where it is put to dramatic effect devising appropriate torments for each particular sin (Raffa 3). From Limbo to Treachery, Dante catalogues and documents the punishment of sinners both infamous and beloved, famous and unknown. In every case, the punishment fits the crime in a twisted and malignant fashion after all, the poem does discuss the realm of Satan, the Christian embodiment of evil. The nine circles of Hell described in Inferno are as follows: Limbo, Lust, Gluttony, Avarice and Prodigality, Wrath and Sullenness, Heresy, Violence, Fraud, and Treachery. These nine circles are based off of the idea of the Seven Deadly Sins, with some additions such as Limbo created by Dante. The poem begins with Dante lost in a dark wood, assailed by three beasts he cannot evade, and unable to move straight along (Dante 1.18) the road to salvation, represented by a mountain. A lion, a leopard, and a she-wolf symbolizing pride, envy, and avarice, respectively block Dantes path to the top of the mountain, forcing him to descend into the depths of Hell with Virgil. The entire journey documented in the Divine Comedy is an allegory for mans fall into sin before achieving redemption (represented by Purgatorio) and eventually salvation (represented by Paradiso). Before Dante even enters the gates of Hell, he is introduced to his guide for the first two realms of the afterlife, Inferno and Paradiso. For this role, Dante chose Virgil (70-19 BCE), who lived under the rule of Julius Caesar and later Augustus during Romes transition from a republic into an empire, and is most famous for the Aeneid. Two episodes in Virgils work were of particular interest to Dante. Book IV tells the tale of Aeneas and Dido, the queen of Carthage, who kills herself when Aeneas abandons her to continue his journey and [found] a new civilization in Italy (Raffa 8). Book VI recounts Aeneas journey into Hades to meet the shade of his father and learn of future events in his journey. Many elements in the Aeneid are present in heavily modified form in Dantes Inferno. Many of Dantes mythological elements are based on Book VI of Virgils Aeneid, which recounts Aeneas visit to the underworld. Virgil imbued his version of the underworld with a fluid, dreamlike atmosphere (5 ), while Dante instead strives for greater realism, providing sharply drawn and tangible figures. After passing through the gateway to hell, marked ominously with the words ABANDON EVERY HOPE, WHO ENTER HERE (Dante 3.9), Dante and Virgil witness a realm of miserable people who lived without disgrace and without praise (3.17-35) on the periphery of the Inferno. In this realm, the two poets encounter the souls of those who lived such undistinguished and cowardly lives that they have been cast out by Heaven and refused entry by Hell. These souls are forced to race after a banner which never comes to a stop, and are stung repeatedly by flies and wasps, their blood and tears nourishing the sickening worms (3.69) at their feet. The punishment for these cowardly souls is clear; just as in life they refused to be decisive and act, they now are barred from both eternal paradise and eternal damnation, and chase down a waving banner which they will never be able to reach. Next, Dante and Virgil meet Charon, Hells boatman. In the Aeneid, Charon is the pilot of the vessel that transports shades of the dead across the waters into the underworld. In both works, he is an irritable old man with hair white with years (3.83) who objects to taking a living man (Aeneas, Dante) into the realm of the dead. In each case, the protagonists guide (the Sybil, Virgil) provides Charon the proper credentials, and their journey continues. In Limbo, the guiltless damned, noble non-Christian souls, and those who lived before the time of Christianity are punished. The idea of a place for souls who did not sin; and yet lacked baptism (4.34-35) existed in Christian theology prior to Dante, but his vision is more generous than most. Dante includes unbaptized babies, as well as notable non-Christian adults in his version of Limbo, which bears a resemblance to the Asphodel Meadows, a section of the Greek underworld where indifferent and ordinary souls were sent to live after death. Dante suggests that those in Limbo are being punished for their ignorance of God by being forced to spend the afterlife in a deficient form of Heaven; while certainly not as hellish as the other circles, Limbo is by no means a paradise. Dante encounters the classical poets Homer (eighth or ninth century BCE), Horace (65-8 BCE), Ovid (43 BCE -17 CE), and Lucan (39-65 CE), who welcome back their comrade Virgil and honour Dante and one of their own (Dante 4.79-102). Philosophers Socrates and Aristotle also make appearances in Limbo as the shades of men renowned for their outstanding intellectual achievements. Socrates (born ca. 470 BCE in Athens) was a legendary teacher known for the rigorous method of questioning that characterizes the dialogues of Plato (ca. 428-ca. 347 BCE), who also appears. In addition, one notable non-Christian soul finds himself in Limbo, separated from the rest: Saladin, the distinguished military leader and Egyptian sultan who fought against the crusading armies of Europe yet was admired even by his enemies for his chivalry and magnanimity. Dantes implication is that all virtuous non-Christians find themselves in Limbo. The Lustful are punished in the second circle by being blown about by a hellish hurricane, which never rests wheeling and pounding (5.31-33). Lust, for many of the inhabitants of this circle, led to the sin of adultery and in the cases of Dido, Cleopatra, Helen of Troy, and others a violent death. The violent winds are symbolic of lust, and represent the power it holds in affairs of blind passion and physical love. Lust contains the shades of many famous lovers: Semiramis, Dido, Paris, Achilles, and Tristan, among others. Semiramis was a powerful Assyrian queen alleged to ave been so perverse that she even made incest a legal practice (Raffa 27); Dido, queen of Carthage and widow of Sychaeus, committed suicide after her lover Aeneas abandoned her (Virgil IV); Paris later died during the Trojan war; Achilles was the most formidable (Raffa 27) Greek hero in the war against the Trojans, who was killed by Paris (according to medieval accounts); finally, Tristan was the nephew of king Mark of Cornwall who fell in love in Iseult (Marks fiancee) and was killed by Marks poisoned arrow. Minos, the one who judges and assigns (Dante 5.6) the souls during their descent into Hell, is an amalgam of figures from classical sources, completed with several personal touches from Dante. He is a combination of two figures of the same name, one the grandfather of the other, both rulers of Crete. The elder Minos was admired for his wisdom and the laws of his kingdom. The second Minos imposed a harsh penalty on the Athenians (who had killed his son Androgeos), demanding an annual tribute of fourteen youths (seven boys and seven girls), who were sacrificed to the Minotaur, which appears later in Inferno. Minos long tail which he wraps around himself, that marks the sinners level (Dante 5.11-12) is Dantes invention. Gluttony is punished in the third circle. The souls of the damned lie in a vile, grimy slush brought about by cold, unending, heavy, and accursed rain (6.7-8). These former gluttons lie sightless and heedless of their neighbours, symbolizing their cold, selfish, and empty pursuit of hedonism and empty sensuality. The slush, representative of overindulgence and sensuality, serves to cut one off from both the outside world and from Gods deliverance. Gluttonous individuals of note include a Florentine contemporary of Dantes, identified as Ciacco (pig in Italian). Ciacco speaks to Dante regarding the political conflict in the city of Florence between two rival parties, the White and Black Guelphs, and predicts the defeat of the White Guelphs, Dantes party. This event did indeed occur, and would lead to Dantes own exile in 1302. As the poem is set in the year 1300, before Dantes exile, he uses the events of his own life to illustrate the unique ability of shades in Inferno to predict the future, a theme which is returned to later in the poem. Cerberus, guardian of Gluttony, is similar to the beast of Greek mythology. In the Aeneid, Virgil describes Cerberus the three-headed dog which guards the entrance to the classical underworld as loud, huge, and terrifying. Dantes Cerberus displays similar canine qualities: his three throats produce a deafening bark, and he eagerly devours the fistful of dirt Virgil throws into his mouths like a dog intent on its meal. Cerberus bloodred (6.16) eyes, greasy, black (6.16) beard, and large gut link him to the gluttonous spirits whom he tears, flays, and rends (6.18) with his clawed hands. The Avaricious and the Prodigal are punished together in the fourth circle. Avarice, or greed, is one of the inequities that most incurs Dantes scorn and wrath (Raffa 37). Prodigality is defined as the opposite of Avarice; that is, the trait of excessive spending. Both groups are forced to eternally joust with one another, using cumbersome stone weights as weapons. They call out to each other: Why do you hoard? Why do you squander? (Dante 7.30). Here Dante describes the punishment of both extremes, criticizing excessive desire for and against the possession of material goods using the classical principle of moderation. In the fifth circle, the Wrathful and the Sullen are punished. The wrathful fight each other eternally on the surface of the river Styx, which runs darker than deep purple (7.103), while the sullen lie gurgling beneath the water. Dante describes how the Wrathful combat one another: [They] struck each other not with hands alone, but with their heads and chests and with their feet, and tore each other piecemeal with their teeth (7.112-114). The wrathful are damned to eternally struggle and fight without direction or purpose, while the sullen have withdrawn into a black sulkiness from which they can find joy in neither God nor life. In the fifth circle, Filippo Argenti, a prominent Florentine and a Black Guelph, calls to Dante. A hotheaded character (Raffa 40), little is known regarding Filippo except what transpires in Inferno. He quarrels with Dante, lays his hands upon the boat the poets travel on, and is eventually torn apart by his wrathful cohorts. The two men were political opponents, but Dantes behaviour towards Filippo indicates a more personal grievance. Perhaps he had humiliated Dante in life, or had taken some part of Dantes property after his exile from the city. Phlegyas is the solitary boatman (Dante 8.17) who transports Dante and Virgil in his boat across the Styx, the circle of the wrathful and sullen. He was known in Greek mythology for his impetuous behaviour; in a fit of rage, Phlegyas set fire to the temple of Apollo because the god had raped his daughter Apollo promptly slew him in response. Phlegyas appears in Virgils underworld as an admonition against showing contempt for the gods (Virgil 6.618-620), a role which he reprises in Inferno. Between the fifth and sixth circles lie the walls of Dis, the fortressed city of Lower Hell (Raffa 39). The fallen angels who guard the gates of Dis refuse entry to the two poets, requiring the arrival of a messenger from Heaven to open the gate for them. Dante designates all of Lower Hell circles six through nine, where the most serious of sins are punished as the walled city of Dis, with its grave citizens, its great battalions (Dante 8.69). The first five circles, which exist outside of Dis, are collectively known as Upper Hell, as they are where the lesser sins are punished. With the appearance of the three infernal (9.38) Furies, who threaten to call on Medusa, Virgils credibility and Dantes survival appear to be at risk. Furies were often invoked in Virgils classical world to exact revenge on behalf of offended mortal and gods. Medusas hair was turned into snakes by an angry Minerva after Medusa made love with Neptune in the goddesss temple, and became too horrifying to look at without being turned to stone. Dante describes Medusa as the Queen of never-ending lamentation (9.44). The Furies names evil thought (Allecto), evil words (Tisiphone), and evil deeds (Magaera) (9.45-48) describe the three manifestations of sin, which can turn people to stone by making them obstinate cultivators of earthly things (Raffa 41). Heretics are punished inside the walls of Dis, in a spreading plain of lamentation and atrocious pain (Dante 9.110-111) resembling a cemetery. The sixth circle contains souls trapped and enclosed in fiery tombs for failing to believe in God and the afterlife. Since they did not believe in Hell, the Heretics are punished by being sealed away from it in the most unpleasant possible way inside a flaming sepulchre. Among the tombstones of the sixth circle, Dante encounters more Italian contemporaries. A pair of Epicurian Florentines are disocvered sharing a tomb: Farinata degli Uberti, a Ghibelline; and Cavalcante de Cavalcanti, a fellow Guelph and the father of Guido Cavalcanti, Dantes fellow poet and closest friend. Farinata is an imposing figure, rising out of his inflamed sepulchre from the waist up and seeming to have great contempt for Hell (10.31-36). As the leader of the Ghibellines, Farinata was an enemy to the Guelphs, the party of Dantes ancestors. Farinata declares that his colleagues would have annihilated Florence (10.92), had he not interceded forcefully, an act which has earned him Dantes respect. Cavalcante was an enemy to the Ghibellines, like Dante, and married his son Guido to Farinatas daughter in order to foster peace between the two parties. Dantes best friend, Guido Cavalcanti, was a poet who held the philosophical belief that love is a dark force which leads only to mis ery and death. Therefore, Cavalcantes appearance in Hell might be more a matter of guilt by association to his sons worldview than any kind of reflection on himself. The Minotaur is the guardian and mythological symbol for the seventh circle, Violence. At the sight of Dante and Virgil, the minotaur reacts like one whom fury devastates within (12.15), and his frenzied bucking allows the travellers to proceed unharmed. The Minotaur is a physical manifestation of violence in Inferno: almost every part of the Minotaurs story, from its creation to its demise, contains some form of violence (Raffa 55). The sinners in the seventh circle are divided into three groups: the violent against people and property, the violent against themselves, and the violent against God and nature (Dante 11.28-33). The first group comprised of assassins and murderers, among others are immersed in Phlegethon, a bloodred, boiling (12.101) river of blood and fire, up to a level commensurate with their sins (12.73-75). Because they committed such acts of bloodshed and destruction in their lives, they are punished by being immersed in a river of that which they have spilt. The second group the suicides are transformed into knotted, gnarled (13.5) thorny bushes and trees, which are fed upon by Harpies. These souls have given away their physical bodies through suicide, and are forced to maintain treelike forms. These suffering trees cannot speak until Dante accidentally injures one and causes it to bleed. Dante uses the soul-trees as a metaphor for the state of mind which leads to self-harm and suicide. Fi nally, the third group blasphemers and sodomites reside in a desert of sand, fire and brimstone falling from the sky. The blasphemers lie down upon the sand, the usurers recline, and the sodomites wander seemingly aimlessly in huddling groups, all while being burned by distended flakes of fire (14.28-29). This symbolizes how those who act violently against God and that which God has provided are perpetually unable to find peace and comfort in their lives. Among those immersed in Phlegethon is Alexander the Great, submerged up to his eyebrows in blood. He suffers for his reputation as a cruel, bloodthirsty man who inflicted great harm upon the world and its peoples. In the forest of suicides, Dante hears the tale of Pier delle Vigne, who killed himself after falling out of favour with Emperor Frederick II (Dante 13.64-69). Dante encounters his mentor, Brunetto Latini, among the sodomites. Surprised and touched by this encounter, Dante shows Brunetto great respect and admiration, thus refuting suggestions that the poet Dante placed only his enemies in Hell (15.43-45). The Centaurs are men from the waist up with the lower bodies of horses (Raffa 55) who guard the river Phlegethon. Thousands of centaurs patrol the bank of the river, using bows and arrows to keep damned souls submerged. In classical mythology, Centaurs are best known for their uncouth, violent behaviour. Chiron, leader of the Centaurs, enjoyed a favourable reputation as the sage tutor of both Hercules and Achilles. Pholus and Nessus the Centaurs assigned to escort Dante and Virgil have fully earned their negative reputations, however: Pholus who Virgil describes as full of rage (Dante 12.72) had been killed when a fight broke out during a wedding after he and his fellow centaurs attempted to carry off the bride and several other girls, and Nessus was killed by Hercules with a poison arrow for attempting to rape the heros wife, Deinira, after Hercules entrusted him with carrying her across a river (12.67-69). The penultimate circle as well as the most detailed is Fraud, which Dante describes as a place in Hell made all of stone the colour of crude iron (18.1-2). This circle is divided up into ten smaller pockets: panderers and seducers, flatterers, simonists, sorcerers, barrators, hypocrites, thieves, fraudulent advisers and evil councillors, sowers of discord, and falsifiers. Panderers (pimps) and seducers march eternally in opposite directions, lashed cruelly (18.36) by demons. Just as they used passion and seduction to bend others to their will, they are now themselves driven by hellish demons. Flatterers exploited other people using language, therefore, they are plunged in excrement (18.113), representing the false words they produced. Simonists payed for positions of power within the Catholic Church, and are placed upside-down into holes in the floor, with both soles [of their feet] on fire (9.25). The holes into which their heads are planted resemble baptismal fonts, used in sever al religious rituals a constant reminder of the corrupt nature of their former positions in the church. Sorcerers, astrologers, and false prophets have had their heads twisted toward their haunches (20.13) so that they can not see what is ahead of them. This symbolizes the twisted nature of magic in general specifically, it refers to the use of forbidden means to see into the future. Dante felt particularly unforgiving towards politicians after his exile from Florence, thus, corrupt politicians (barrators) are immersed in a stew of sticky pitch (21.8). Their punishment represents the sticky fingers, corrupt deals, and dark secrets inherent in positions of political power. The hypocrites listlessly walk with lagging steps, in circles, with features tired and defeated (23.59-60), wearing leaden cloaks, representing the falsity behind the appearance of their actions. This falsity literally weighs these souls down and renders any sort of progress impossible. The thieves are pursued an d attacked by lizards and snakes, their bites causing them to undergo various transformations (24-25). Just as they stole in life, their very human identity becomes subject to theft in Hell. Fraudulent advisers and evil councillors are encased within individual pyres. These individuals did not give false advice out of ignorance; rather, Dante refers to rhetoric [used] by talented people for insidious ends (Raffa 99). In life, they caused those whom they advised to do ill without dirtying their own hands now they are punished alone in their fires. The sowers of discord are hacked apart, their bodies dividing as in life they caused division among others. Their wounds are quickly healed, only to have themselves hacked apart again (Dante 28.139-142). Dante considers falsifiers (alchemists, counterfeiters, perjurers, and impersonators) a disease upon society, and their corrupting influence is reflected in their diseased bodies and minds (Raffa 99) in the tenth pouch. In the eighth circle, Dante meets a number of notably fraudulent individuals. Venedico Caccianemico, who sold his own sister to the Marchese dEste, is recognized among the pimps in the first pouch, despite his attempts to avoid detection (Dante 18.40-60). In the fifth ditch, the thief Vanni Fucci is burnt to ashes before being reincarnated; Agnel blends together with a reptilian Cianfa; and Buoso exchanges forms with Francesco. Vanni Fucci was a black Guelph from Pistoia, a town not far from rival Florence; Dante says he knew Vanni as a man of blood and anger (Dante 24.129). Agnel is thought to be Agnello Dei Brunelleschi, a man who joined the white Guelphs Dantes party but then switched to the black faction when they came to power. Both he and Cianfa are renowned for their thievery. Buoso stole while serving in public office, then arranged for Francesco de Cavalcanti to take over and steal on his behalf. In the eighth pit, Ulysses and Diomedes are condemned for the deception of th e Trojan Horse, luring Achilles into the war effort, and stealing a statue of Athena from Troy (26.58-63). Dante encounters the schismatic prophet Muhammad; the poet views Islam as an off-shoot from Christianity, and similarly condemns Ali, Muhammads son-in-law, for the schism between Sunni and Shiite Muslims (28.22-33). The Malebranche (Evil claws in Italian) are the devils of the fifth pocket of circle eight who bring to Hell the shades of corrupt political officials and employees. They are agile, smart, and fierce (Raffa 77), they are armed with long hooks, which they use to keep the shades under the surface of the black pitch (Dante 21.55-57). It is likely that the names Dante coined for individual demons (Bad Dog, Sneering Dragon, Curly Beard, etc.) are based on actual family names of civic leaders in Florence and the surrounding towns. The Giants physically connect circles eight and nine: standing on the floor of circle nine, they tower over the inner ledge of circle eight with the upper halve of their immense bodies. They are archetypal examples of defiant rebels: Nimrod, who attempted to build the Tower of Babel before it was knocked down by God and his people were scattered; Ephialtes, who fought against Jove and the other Olympian gods; and Antaeus, whose relationship with the titans who stormed Mt. Olympus damned him, despite the fact that he was born after his brothers had waged war against the gods. Nimrod has been punished by being forced to speak an incomprehensible language; that is, his language is as strange to others as theirs is to him. Ephialtes, like the rest of the titans who challenged the gods, is immobilized with heavy chains. Antaeus is not given any exceptional punishment, for he is only guilty by association. It is Antaeus who assists Virgil and Dante by lowering them down to the ninth circle , after being enticed by Virgil with the prospect of eternal fame upon Dantes return to the world (31.115-129). The final circle is Treachery, a frozen lake at the centre of Hell, which is divided into four Rounds: Ca?na, Antenora, Ptolomaea, and Judecca. In Ca?na, traitors to their kindred are immersed in ice up to their faces. In Antenora, traitors to political entities are located similarly in the ice. In Ptolomaea, traitors to their guests are punished, lying on their backs in the ice, with only their faces uncovered. In Judecca, the traitors to their lords and benefactors are completely encapsulated in ice, distorted in pain. In the first round of Treachery, Dante encounters Mordred, who attacked his uncle King Arthur and was pierced mortally by Arthurs lance (Dante 32.61-62). In the second round, Count Ugolino pauses from his ceaseless assault upon the head of his rival, Archbishop Ruggieri, to tell Dante how Ruggieri imprisoned and killed him with his children. This story, the longest single episode related by a damned soul in Inferno, serves as Dantes final dramatic representation of mankinds capacity for evil and cruelty. Fra Alberigo, who had his brother killed at a banquet, explains a key conceit of Dantes Inferno: sometimes, a soul falls into Hell before they have actually died. Their earthly bodies are possessed by demons, so what appears to be a walking, living man is actually beyond the point of repentance (33.134-147). Finally, Lucifer the emperor of the despondent kingdom (34.28) lies at the centre of the Inferno. As ugly as he once was beautiful (34.34-36), Lucifer is a wretched contrast with his limited autonomy and mobility. Lucifers three faces (black, yellow, and red) parody the doctrine of the Holy Trinity: three persons (Father, Son, Holy Spirit) in one divine nature the Divine Power, Highest Wisdom, and Primal Love which also created the gates of Hell, and, by extension, the entire realm of eternal damnation. His flapping wings generate the wind that keeps lake at the centre of Hell frozen, while his three mouths chew on the shade-bodies of the three archtraitors Judas, Brutus, and Cassius the gore mixing with tears gushing out of his three sets of eyes (34.53-57). Dantes Inferno heralded a revolution in Christian theology through its innovative use of poetic justice, historical and contemporary figures, and classical mythology. By combining these disparate elements into a single, cohesive poem, Dante effectively changed the way the Western world imagined the afterlife and Hell in particular. By focusing on the details of the scenes and the identities of those whom the fictional Dante converses with, Inferno illustrates a horrifyingly real and immediate vision of Hell, one which has persisted at least in some part to this day. By focusing on the personal journey of one man through the afterlife, the focus of the narrative is shifted onto the reader, who can easily identify with Dante as the first-person narrator. While the circumstances surrounding the creation of the Divine Comedy Dantes exile from Florence, his fall from political grace, and his eventual death soon after the completion of his magnum opus are rather tragic, they all contri bute to Dantes work in a way which colours the text and gives it a personality and passion which is still felt to this day. For seven hundred years, Inferno has elicited strong responses from its readers from fascination to revulsion and everything in between (Raffa 5). Regardless as to the readership, the response to Inferno has been, and will continue to be, anything but apathetic.