Currency Derivatives Essay Example for Free

Currency Derivatives Essay Preference of equity and commodity over Currency derivatives trading in India survey Kindly spare some minutes to fill this form and be a part of real customer perception survey and support us to gain an insight about the preferences of Indian retail investors for trading in market and the reasons behind the existing popularity of currency derivative market in India. 1. Did you ever think of currency derivative market as trading option? Yes, I trade in currency market No, but planning to invest after performing research? Never, what is Currency Derivatives? 2. In which market do you trade? (Choose all that apply, skip if you do not trade) Equity Commodity Currency Derivatives 3. Rate your expertise in the market: (Choose one level for each) Zero Commodity Currency derivatives Equity Beginner Intermediate Expert 4. Given Rs. 1000, how would you allocate the money among these investment options? (Allocation should add up to Rs. 100). Hedger Commodity Currency derivatives Equity Speculator Arbitrager 6. Choose and rate from 1 to 3 among the following attributes for each market. (Fill for only those market in which you trade) Returns Market volatility Portfolio diversification Hedging Arbitrage Commodity Currency derivatives Equity 7. Why do you think Indian retails investors have less preference towards currency derivatives market? Strongly agree Not enough self knowledge Less popular among peers Lack of govt. initiatives Agree Neutral Disagree Strongly disagree.

Arte Povera Movements in Modern Art

Arte Povera Movements in Modern Art The movement Arte Povera began in late 1960s the key artists were; Giovanni Anselmo, Jannis Kounellis, Alighiero Boetti, Luciano Fabro, Mario Merz, Marisa Merz, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Pino Pascali and Michelangelo Pistoletto. Arte Povera translated, means poor art but this does not refer to the quality or types of materials used alone. The artists involved produced sculpture, photography installation and performance. There were also other types of art practice that had an affinity to Arte Povera; Land art, antiform, postminimalism and conceptual art. The artists within this movement were concerned with that point at which art and life, nature and culture, intersect (Christov-Bakargie 1999: 17). Arte Povera found significance within physical forces present in every day life, such as gravity and electricity. Art that merely represented life and acted as a go between art and life was not considered by Arte Povera, experiencing a real life situation was the focus. Along with involving physical forces Arte Povera engaged with aspects of human nature. The objects and materials that the artists used to evoke aspects of human nature stirred the senses allowing the viewer to experience the work. For example Jannis Kounellis wanted the viewer to use their sense of smell he did this by using coffee within his work. The use of texture is applied within Arte Povera, suggesting that the viewer touch the work. The use of text was also popular with Arte Povera, the words were largely handwritten so would come across more personal. In terms of location the artists tend to work indoors however have worked in site-specific places. They have created installations, sculpture, film, and performa nce the artists also worked with ideas of the permanent and temporary. The scale is often determined by the dimensions of the human body, its physical presence and behaviour (Christov-Bakargie 1999: 19) this is demonstrated in Fabros piece in-cubo which consisted of a cloth cube that was big enough for just one person. Kounellis also stated that I cant exceed the height of a man (Bellini 2007: 114). Arte Povera was an outlet for artists at the time to rebel against what they considered an oppressive society both economically and culturally. They believed both these things were trapped within traditions and focused heavily upon consumerism devised to control rather than liberate (Christov-Bakargie 1999: 20). Many other things came under attack at this time such as education, sexuality and religion. The Arte Povera artists questioned all traditional materials, scale, form and concept. A key concept for the artists was to reduce the intellectual control and make the experience more important. Jean-Chrisophe Ammann gave a definition of Arte Povera: Arte Povera designates a kind of art which, in contrast to the technologized world around it, seeks to achieve a poetic statement with the simplest of means. This return to simple materials, revealing laws and processes deriving from the power of the imagination, is an examination of the artists own conduct in an industrialized society [] A way of dropping out which is by no means a denial of society, but which instead asserts a moral claim: the subjectified in its objectified authenticity reflects a natural recollection of environmental phenomena, both universal and individual (Christov-Bakargie 1999: 20). The text Art Povera Notes for a Guerrilla War written by Germano Celant begins by describing a type of art that follows the system First came man, then the system. That is the way it used to be. Now society produces, and man consumes (Celant 1967: 119). This system demands that the art produced by an artist has to follow a certain route; they must conform to the art they have made in the past. The artist makes objects that suit the system, they cannot create an object just for it to be an object they must justify the art and then make it fit for distribution: Turning himself as an artist into a substitute for an assembly line. No longer a stimulator, technician, or specialist of discovery, he becomes a cog in a mechanism. His behaviour is conditioned into never offering more than a correction to the world, perfecting its social structures but never modifying or revolutionizing them (Celant 1967: 119). Marcel Duchamp is mentioned as an opposing example to this type of art, he was never interested in pleasing the system and instead made art that did not follow a linear path. Celant describes that art has two directions one being using existing structures and the other the choice is to make a free art which allows for progression within the work. Celant believes the first choice of using the existing structure is a complex art and the second choice, a free art is a poor art due to it involving unforeseen events and working within the present. Over there a complex art, over here a poor art. Committed to contingency, to events, to the non-historical, to the present (Celant 1967: 119). Arte Povera artists rejected societies system, the artist wanted to be free to grow from the ability to move in any direction with their art to produce art that is unpredictable The artist, who was exploited before, now becomes a guerrilla warrior (Celant, 1967: 119). In a world where the system is well and truly cemented within society Arte Povera exists by not committing itself to any one system. This art is controlled by the practical objective to liberate art. Not to add ideas or art objects in to the world, which could fall in to the system: Hence it does away with categorical positions to focus on gestures that do not add anything to our well-educated perception, that do not oppose themselves to life as art or lead to the creation of separate levels for the ego and the world, but exist as social gestures in and of themselves, as formative and compositive liberations which aim at the identification between man and the world ( Celant, 1967: 119). Celant later wrote another text on Arte Povera in 1969, within this text he reiterates that the artist is renewing events that happen in nature. He compares the artist to an alchemist, having the ability like nature does to create magical things. The artist does not intend to represent these natural processes Like a simple-structured organism, the artist mingles with the environment, he camouflages himself with it (Celant quoted in Christov-Bakargie 1999: 198). Consequently the artist does not aim to change the world or influence it anyway, instead wishes to appreciate natural processes that occur and then experience them through making art. Celant identifies that Arte Povera involves the abolishment of following trends within your work and what you are expected to create as an artist and instead allow the work to organically progress. He abolishes his role as artist, intellectual, painter and sculptor. He learns again to perceive, to feel, to breathe, to walk, to understand, to use himself as a man. Naturally, learning to move or rediscovering ones own existence does not mean playing a new role or making movements, but using oneself as a continuously mouldable material (Celant quoted in Christov-Bakargie1999: 198). In 1968 Marisa Volpi wrote American Art and Italian Art: New directions, within this text she explores what is primary or minimal art. She defines this type of art as devoid of complicated form and absent from traditional aestheticism ( Volpi quoted in Christov-Bakargie 1999: 196). She also writes that these types of artists tend to be sculptors, as they believe that painting is limited in its two dimensionality, which restricts its capabilities of illusionism. Their focus is on involving the viewers in their presence and prompting isolated and particularized sensations, rather than on making them reflect, think and exercise judgement ( Volpi quoted in Christov-Bakargie 1999: 196). Volpi states that the distinctive feature at the time the text was written between European artists and others differed by their intellectual understatements within their art. Volpi describes what the Arte Povera artists produced They work on that perceptual fabric which comes before our logical-historical relations with the world (Volpi quoted in Christov-Bakargie 1999: 196). This quote is expressing similar ideas written by Celant, that Arte Povera is a rejection of producing work that follows a pattern and instead works with human nature as content. She describes many different themes within Arte Povera one being the use of ordinary processes such as filling up, covering up, opening, rolling up, lighting etc (Volpi quoted in Christov-Bakargie 1999: 196). Volpi ends her essay by writing that the Arte Povera artists intended to change the way that art was traditionally perceived. Chapter 2 part 2 This section of the chapter will explore several artists work who were involve within the Arte Povera Movement. Looking back at the question, what is Relational Aesthetics relationship to Arte Povera? Does Arte Povera include social interactions as part of the practice in the same way as Relational Aesthetics? Considering artist practices and how they use interaction and participation within their art. The artist Michelangelo Pistoletto (2001) said about his work: I am interested in the passage between objects more than in the objects themselves. I am interested in the perceptive faculty, in the sensitisation of the individual. Objects, the state of things, human movements accepted in their conventional appearance, do not contribute in any way to the profound stimulus of man, the full use of his cerebral capacities (Pistoletto quoted in 2001: 7). He is saying here that the object is not the most important part of the object but the channels between objects. He is interested in the interaction of the individual with the work and the awareness the viewer has of the work by way of their senses. Looking at objects in their normal capacity will not motivate people to use their full intellectual abilities. Pistoletto was recognized as a key artist of Arte Povera, his most famous pieces are Mirror Paintings and his series Minus Objects. Mirror Paintings consisted of human scaled images applied to reflective steel. The use of steel and the reflections from the viewers of the work meant the paintings were breaking with traditions of figurative painting. The involvement of the viewer within the art evoked a link between art and life. Minus objects was a series of sculptures that offered psychological and physical experiences (Tate 2001:..). One sculpture Lunch Painting 1965 is a cross between a picnic table and chairs, a painting and a sculpture thus questioning traditions of painting and not creating objects as commodities. In an interview with Paola Noe Can Art still Save Our Souls? 2008 Pistoletto identifies the beginnings of his Mirror Paintings: The figure of a man seemed to come forward, as if alive, in the space of the gallery: but the true protagonist was the relationship of instantaneousness that was created between the spectator, his own reflection and the painted figure, in an ever-present movement that concentrated the past and the figure in itself to such an extent as to cause one to call their very existence into doubt: it was the dimension of time itself (Noe 2008: 64). Pistoletto distinguishes that the central theme of the work is the interactivity between the artwork and the spectator. He explains there are two different types of present the one of the reflections and the time the image was captured, the image captured is also in the past as a memory. Past, present and future are all involved in the piece in different combinations, the future being the continuation of visitors to the gallery. Noe considers Pistolettos Minus Objects foretold Bourriauds theory Relational Aesthetics. Pistoletto responded in agreement suggesting the theory was born from Minus Objects with which I moved from the diversity of objects to the diversity of people (Noe 2008: 67). He states by taking his work outside the gallery it opened up art to a wider audience and to the unconventional. However Bourriaud states that relational art is not a re-interpretation or revival of any art movement. Relational artists do not use social interaction because it is the trend at the time or as an accompaniment to their practice. The social interaction is the subject matter of their work, and also the outcome. Bourriaud contends that previous use of participation in art specifically in the 60s was concerned with the definition of art as its focus and not social interactivity. Bourriaud also comments that art in this period was creating utopian ideas of society unlike Relational Aesthetics that created existing spaces. Giovanni Anselmo is another artist from Arte Povera who worked with nature and phenomena, one example is his use of the physical force, gravity. These things play the part of content as well as material within his work. At the centre of his art which integrates nature, perception and philosophy stands the human being (Werd and Watkins 2005: 106). The human being is an integral part of Anselmos work, as the gallery goer is transformed into a participant. For example his work Invisible 1971 involved a projected light, if anyone came into contact with the light it would then project on to his or her body making the light visible. Anselmos work of the 1960s and 1970s is an exploration of the obvious connection between art and the difficulty of understanding the world around us. In relation to the important aspects of Arte Povera mentioned earlier in this chapter Anselmo tries to break traditions for example having his materials created by someone else removing the workmanship and the traditional idea of processes like stone carving. He makes the experience of the work more important rather than the intellect in the work. Anselmo is re-inventing things within nature and phenomenon whilst keeping the work simple and bridging the gap between art and life however not representing it. Anselmo states he tries to be real, noting how he finds it incredible to be on earth, walking about and lookingit is magic just to be here. And often one forgets that (Anselmo quoted in Werd and Watkins 2005: 112). Anselmo (1969) writes that he does not fix situations but keeps them open, as situations in real life are not fixed; they are in a constant state of change. Because energy exists in all guises and in all situations, to work with energy requires total freedom in choosing and using materials (Anselmo quoted in Christov-Bakargie 1999: 233). Jannis Kounellis was also an artist that was associated with Arte Povera, Kounellis questioned conventions and traditions within art and also made art that cannot be sold. He did this by using live animals within his work, such as parrots, horses and goldfish. When asked what it was that defined Arte Povera Kounellis responded by saying that there was little planning or rigidity involved, Not having any dogmatic paranoia, not starting from a manifesto, the acceptance of contradictions (Bellini 2007: 114). In his work Opposite (1967) Kounellis placed a variety of objects that contrasted within the gallery space, by doing this he created a theatrical environment in which visitors became more than viewers and instead were transformed into actors. Kounellis also created an installation Untitled (12 horses) the use of twelve horses was not just to contest consumer society, but also referenced historical painting and were seen to represent power and energy. The human senses were also impor tant to the Arte Povera artists in Kounelliss case he used smell. Nature as a theme is also included within his work, he often places fire within the work from quite aggressive jets of fire to a more intimate use of fire in candles. In an interview with Marisa Volpi (1968) and Kounellis discuss whether chance is a determinate factor with his work. Kounellis states that When you have a plan, there is the fixed idea of development. When you plan, you eliminate openness. (Kounellis quoted in Christov-Bakargie 1999: 248). Kounellis (1968 a) also reiterates an important aspect within Arte Povera and that is the intention to unite art and life. He demonstrates this unity through the transformation of the gallery into a theatre where real life and fiction merge (Tate). Kounellis (1968 b) explains that art should strive towards authenticity and by using this term he means an art that does not categorize itself within a product or tradition that it doesnt want to shed. He states the work should be defiant towards conventionality the artist then becomes a permanent disturbance (Kounellis quoted in Christov-Bakargie 1999: 248). It is also important however that the viewer also sees the work in this way they must react t o them as signs of otherness and as indications of unconventionality (Kounellis quoted in Christov-Bakargie 1999: 248). In an interview with Andrea Bellini, Kounellis speaks about several topics the first one explored is drama. Drama is a fundamental part in his work and this is because drama is the basis of his culture. Kounellis is asked to explain what drama is and replies, In Italy, wherever there is drama, there is a new perspective; everything new is dramatically new, the rest is not actually new (Bellini 2007: 112). Language is also referred to Kounellis feels the most important gesture he has ever made was when he broke away from the canvas and started to work outside of it, this allowed him realize more this gesture opened a world for me (Bellini 2007: 113). The approaches made by Kounellis and others within the Arte Povera movement have lead to the rethinking of the gallery space or as Kounellis (2007) states by considering intervention within the gallery has changed the rules of the game. For example the piece where he placed a mass of carbon in the corner of a room as a gesture showed a d ifferent way to use the gallery. He strongly believes that the gallery is not a place to purchase artwork. The artist must make work that is socially relevant and make a declaration at the same time.

The Prevalence Of Anemia Health And Social Care Essay

The Prevalence Of Anemia Health And Social Care Essay Review of literature is an important step in the development of research project and in broadening the understanding and developing an insight into the problem area. It further help in developing the broad context in which the problem fits, methodology, instruction of tool, development of evaluative approach and analysis of data. Literature review is a critical summary of research on a topic of interest often prepared to put a research problem in context. (Denise.F.Polit, 2011) The review of literature in this chapter is presented under the following headings. Literature related to prevalence of anemia Literature related to treatment of anemia Literature related to effectiveness of beetroot pulp on anemia 1. Literature related to prevalence of anemia A cross sectional study was conducted for a period of one year to determine the prevalence and severity of anemia among adolescent girls in rural areas of Vantamuri PHC, Belgaum. 840 adolescent girls were selected for the study by using convenience sampling technique. Information was obtained by demographic variables and the blood samples were analyzed by automated cell counter. The study result showed that the prevalence of anemia was 41.1%, among them majority of adolescent girls had mild anemic. The prevalence of anemia was considerably high among adolescent girls who belonged to the low socioeconomic status. There was a significant association of anemia with the socioeconomic status at (p

Essay --

La à ©tica puede ser observada de diferentes formas y niveles, donde cada quien tiene una diferente percepcià ³n de lo que es la à ©tica para uno, ya sea desde un punto de vista acadà ©mico, social, familiar o laboral; el tema es tratado desde temprana edad, pero conforme uno va creciendo, el concepto que uno tiene de à ©ste puede que se vaya degradando o intensificando a causa de los à ¡mbitos en los que se desenvuelve uno. Ahora, vivimos en una sociedad en la que la corrupcià ³n es algo muy comà ºn entre nosotros y seguido escuchamos noticias sobre el tema, pues se hace fà ¡cil tomar una decisià ³n que traerà ¡ algà ºn beneficio aunque se tenga que hacer algo mal. Por lo que he decidido hablar de cà ³mo es que la à ©tica toma una parte en la vida profesional de un ingeniero civil. Para empezar, quisiera preguntar  ¿Quà © es la à ©tica? Pues bien, segà ºn la definicià ³n de la Real Academia Espaà ±ola, la à ©tica es una parte de la filosofà ­a que trata de la moral y de las obligaciones del hombre. La palabra à ©tica a menudo la usamos como sinà ³nimo de moral, es decir, el conjunto de principios, normas, preceptos y valores que rigen la vida de los individuos (Cortina & Martà ­nez, 2001, pà ¡g. 21). Ahora, la pregunta es:  ¿Cuà ¡l es la relacià ³n que tiene la à ©tica con la Ingenierà ­a Civil?  ¿Por quà © un Ingeniero Civil aplique la debe aplicar la à ©tica en todos sus trabajos como profesionista?, o  ¿a quà © se enfrentarà ¡ el ingeniero civil durante la prà ¡ctica de su profesià ³n? Con el tiempo se ha observado cà ³mo llegan a fallar obras que han sido diseà ±adas y construidas por ingenieros, incluso antes de que se pusieran en servicio, ya sea por un mal uso de materiales o un mal cà ¡lculo estructural, entre otras cosas. Pero quà © pasa cuando estos problemas se hubiesen podido evitar de no se... ...ncipios que cada uno como profesionista tenga y como los aplica en su vida diaria. Tenemos que conocer todas estas normas à ©ticas que existen no sà ³lo dentro de nuestra profesià ³n, tambià ©n en la de las otras con las que congeniamos en la vida profesional, ya que de estos conocimientos de la à ©tica y profesionalismo depende nuestro futuro no solo como buenos profesionales sino tambià ©n como buenos mexicanos. El ingeniero civil no solo debe manejar las ciencias y las tà ©cnicas que se le enseà ±Ãƒ ³ en un salà ³n de clase, tambià ©n debe ver por la integridad y el desarrollo del ser humano en su conjunto. Aquà ­ es donde toman parte los valores à ©ticos y morales de un profesional, donde el ingeniero debe respetar el marco legal y tomar responsabilidad por cualquier problema que llegue a surgir dentro de su supervisià ³n, actuando con respeto hacia su persona, a la sociedad y a su entorno.

Pay and Pay Detemination Essay -- Employment, Wages, Salaried Workers

The main intention of this essay is to discuss whether the wage earners and the salaried workers are paid according to market value, state edict, or the operational needs of the business and so forth. Indeed, Roberts (1972) implied that the labour cost associated with the pay matters can be the factors to pay determination, such as, affected to the legal regulations and political environments in specific nation, the dimensions view of labour forces and the decisions of the organization in top management. Why pay is important matters to workers, employers and the governments? Admittedly, pay is one of the most significant determinants of benefits to those who works and earns for living. So, to let the readers to understand more about the issue, the explanation on the key term, pay, will be the first and foremost. Generally, ‘pay’ can be referred to the wage and salary for the workforce, as the return of their efforts which putting into the work tasks. In reference to the Oxford English Dictionary, ‘pay’ has several explanations, and the most relevant will be as ‘†¦give someone money that is due for work done, goods received, or a debt incurred†¦Ã¢â‚¬â„¢(Oxford University Press, 2011). Additionally, from the economic terms, there are four types of factors of production, namely as land, labour, capital and entrepreneurship, functioned to describe the input of resources and used to create goods and services (Lipsey and Chrystal, 1999; Vengedasalam and Madhavan, 2007). In more specific terms, derived from the terms as above, ‘labour’, combined together with the terms of pay, this can be decoded that the labour forces have been charged and received their wages and salaries for the labour services that they provided to the employers. As Edwa... ...: In the early age, as the record from Kahn-Freund (1954 cited in Dickens and Hall ,2003, p.125), he quoted that by a leading academic lawyer’s comment about the limited role of British employment law in the period from 1870 to 1960s, as ‘There is, perhaps, no major country in the world in which the law has played a less significant role in the shaping of industrial relations than in Great Britain and in which today the law and legal profession have less to do with labour relations’. Although such statements verified that the legislation during that time has not comprehensive enough to cover the issues of industrial relations, this implied that the laws can play a vital role to such matter, bring more and more significant impacts when more and more areas are covered. So, the following will discuss about the way s of the state intervention directly and indirectly.

Culture and Emphasis Different Cultures Essay

CommunicationVocabulary: * Cultural Shock * Cultural Context * High-Context Culture * Low-Context Culture * Individualism * Collectivism * Masculine * Feminine Why Study Culture? * Globalization * Rise in intercultural Shock * Avoid Culture ShockCultural Contexts * What is cultural Context? * The relative emphasis different cultures place on nonverbal communication * High-Context culture * Low-Context cultureCulture Values * What are culture values? Four categories of cultural values: * Individualism vs. Collectivism * Decentralized vs. Centralized * Uncertainty vs. Certainty * Masculine vs. FeminineContexts, Values and Communication * How do cultural contexts and values impact communication? * What would happen if: * A person from a high-context culture is communicating with a person from a person from a low context culture? * A person from a highly individualist culture is communicating with a person from a more collectivist culture? Culture Shock: * A state of confusion and distress experienced by an individual who is suddenly exposed to a new, strange or foreign social and cultural environmentCultural Shock: * The relative emphasis different cultures place on nonverbal communicationHigh-Context Culture: * Cultures that place a high emphasis on nonverbal communicationLow-context Culture: * Cultures that do not tend to value emphasis on nonverbal communicationIndividualism * Placing a high value on individual accomplishments and individual Collectivism * Place a high value on the accomplishments of a groupMasculine * The traditional social and cultural ideas of male characteristicsFeminine: * The traditional social and cultural ideas of female characteristics| Objectives: * Understand the different reasons men and women communicate * Understand the differences in how and what men and women communicate Vocabulary: * Content: The subjects or topics covered in verbal communication * Men are more likely to focus their attention on the content of a conversation, while women tend to be more emotion and relationship focused. Why men and women communicate * Reasons men communicate * Share information * Accomplish a task * Reasons women communicate * Build relationships * Develop understanding How men and women communicate * How men and women communicate * Men: Verbal messages, value directness * Women: Nonverbal messages, Value feelings What men and women communicate * What men and women communicate * Men: Topics of expertise, problem solving, content focused * Women: Emotions, experiences, relationship focused * Status vs. Support. * Independence vs. Intimacy. * Advice vs. Understanding. * Information vs. Feelings. * Orders vs. Proposals. * Conflict vs. Compromise. | Objectives: * Identify and explain the barriers encountered in intercultural communication * Understand how to overcome barriers in intercultural communication Vocabulary: * Ethnocentrism * Barrier Barriers in Intercultural Communication * Ethnocentrism * Assuming similarities * Assuming differences * Focusing on stereotypes. * Different Communication Codes Overcoming communication barriers * Seek information * Ask thoughtful questions and listen * Tolerate ambiguity * Become â€Å"other† oriented

Hippolytus: Seneca, Euripides, Ovid

Liz Soolkin Hippolytus: Seneca, Euripides, Ovid The story of Hippolytus, a man wronged and killed by his own stepmother is a myth retold by many different writers. For this paper, I have chosen to discuss the myth as retold by Ovid, Seneca, and Euripides. Each multiform has a few distinct differences that impacts the meaning of the myth as whole. While reading each myth, the reader receives a completely different sense from the story, a conclusion that is unique to each story.The difference in each retelling that changes the meaning of the story most significantly is the stepmother, Phaedra’s role and the emphasis each author places on her character in his form of the story. The variations in the portrayal of her character provide each story a different meaning; a large portion of the meaning comes from the reader’s ability or inability to relate to Phaedra; this ability depends on the author’s portrayal of her and her actions.Seneca’s version of the story of Hippolytus’s death is called Phaedra. Before even beginning to read the narrative, the reader understands that Phaedra is the main character in the story; the main conflict of the story is one between her and her stepson. She does everything in her power to get Hippolytus to sleep with her: she asks the nurse to convince him and even tries to do so herself after fainting in his arms. She does not seem to care about his strong morals or her own morals.Aphrodite’s curse on her has led her to be so determined to sleep with her stepson that she ignores her ideals and the ideals of Hippolytus. When she is rejected, she spreads the lies about Hippolytus having raped her and lives to see the consequences of those lies; though she is in control of the situation and could physically stop the story from ending tragically, she does nothing to prevent her stepson from being cursed by his father. She is alive when Hippolytus’ mangled corpse is brought to her and her husb and, Hippolytus’s father, Theseus.Only then does she realize her immense shame because she recognizes that her dishonest actions lead to Hippolytus’s undoing and that her need for revenge is what causes Hippolytus to suffer his horrendous fate. Her shame only comes after she causes her stepson’s death. In Euripides’ version, Phaedra kills herself before Hippolytus is cursed. She leaves a suicide note blaming Hippolytus with her death. She is unable to outlive Hippolytus and see the consequences of her vengeful actions.Unlike in Seneca’s version, in Euripides’s retelling Phaedra dies and has no ability to stop the spread of lies about Hippolytus. She can do nothing to take back her actions like she could have in Seneca’s version. The reader can accept Phaedra’s actions more in Euripides’s version because she dies, attempting to keep herself morally good and free from shame and guilt for her lust; she is portrayed more as essentially a good person who is cursed by Aphrodite and her attraction to her stepson. One can be more empathetic to her in this version because Aphrodite could cast the same curse on anyone.In her death, she blames Hippolytus of rape, relating her to Seneca’s version of her character as a harsh person, intent on revenge, someone to whom the reader cannot easily relate. Ovid’s retelling of the myth of Hippolytus is completely different from Seneca and Euripides’ narratives. First of all, Ovid’s account starts with Hippolytus’s narration of the story; the reader is first introduced to Hippolytus as someone returned from the dead so, even without reading the story, the reader already knows that Hippolytus suffers tragic death at the end of the story.Because he is telling his story to a bystander, Hippolytus does not go into great detail of his life; he recounts the story of his stepmother’s betrayal in a very short and succinct manner, concen trating more on the suffering he faced when his â€Å"limbs [were] entangled in the reins [of his chariot]† (Ovid’s Metamorphoses p. 539 line 608-609). The fact that Hippolytus talks of his own death in a conversational manner, attempting to console Egeria is important because it is one of Ovid’s techniques that he used to place the reader’s attention on Hippolytus.Whereas Seneca wrote about Phaedra and described the story with her as the main character, Ovid wrote about Hippolytus, from Hippolytus’s point of view. In this story, Aphrodite is not even mentioned as being the instigator of Phaedra’s lust. Phaedra is portrayed as a cold-blooded, merciless killer who did not feel shame for her murder of Hippolytus. The shame aspect, that was so important in defining the other author’s versions of the myth, is absent from Ovid’s version. Phaedra’s shame’s absence from the myth can be explained by the fact that Hippolyt us himself is narrating the story.Ovid gives the reader a perspective from the victim’s point-of-view, which does not view any guilt felt by Phaedra as relevant. Even if she feels guilt, she is still held responsible for her actions. Whereas in the other myths, the reader knows that Aphrodite is the final cause of Hippolytus’s death and Phaedra is not completely guilty, in Ovid’s myth, she is not mentioned since Hippolytus was not aware of her influence on Phaedra. The three versions’ portrayals of Phaedra are important when analyzing the different meanings of the multiform myth.The difference lies in the different conflicts that arise in each myth and the various sources of Phaedra’s shame, or the absence of it. In Euripides’ version of the story, the main struggle of the myth lies in Phaedra’s inner conflict; she struggles with her desires and is unable to express them and deal with them in a healthy way. She must use the help of he r nurse to help her and before the story is over, the shame of her immoral thoughts kills her. Unlike Euripides’ version, Seneca’s retelling of the myth shows her conflict to be one with Hippolytus.Phaedra’s every action is a struggle against Hippolytus’ strong morals and chastity. The story is one of a fight between the two characters, concluding with Hippolytus’ loss of life, an event that leads to Phaedra’s shame and eventually her death. Ovid tells the story as a conflict between Hippolytus and Phaedra from Hippolytus’ point-of-view. Hippolytus, in Ovid’s version is wronged by his stepmother, who is portrayed as evil and coldhearted. There is no mention of any shame she might feel for her stepson’s murder; the lack of shame depicts as heartless, an obvious antagonist to Hippolytus’.From these differences, one can interpret that a greater meaning lies in the three author’s definitions of shame. Whereas P haedra in Seneca’s version is shameful of her own immoral thoughts and urges, the other Phaedra, in Euripides’ version, only realizes her guilt when she sees Hippolytus’ dead body; she acts more child-like, not believing that such terrible consequences could come from her actions until she sees them. Ovid differs completely in his view of shame. He sees it as irrelevant to the victim’s suffering and pain.In his version, Hippolytus does not consider Phaedra as having felt any remorse for her actions, he sees her as a coldblooded killer who caused him immense grief. The way I began to analyze the myths of Hippolytus was to think about the major differences between the characters. Because the story is all about the characters rather than the setting or culture, I thought that the differences of each character among each multiform would give me a clear view of the meanings of each multiform. The character that seems to influence each story the most is Phaedra .I could have gone into greater detail about the differences amongst each Hippolytus, Theseus, and nurse but I realized that analyzing those differences would result in an essay of 20 pages and would not be as meaningful. Relying on the differences among each author’s version of Phaedra to give meaning to the differences was very fruitful. I managed to find that the differences in Phaedra’s character were based in her decisions throughout the story. In one story, she killed herself before Hippolytus was dead; in another version, she killed herself after Hippolytus died and in the third version, she was barely even mentioned.Each story showed her as more or less humane; in Euripides’s and Seneca’s versions of the story, Aphrodite was mentioned as the source of her attraction to Hippolytus. The godess’s participation in the crime took some of the blame off of Phaedra’s shoulders and made it easier for the reader to relate to Phaedra. In Ovidâ €™s version, Aphrodite was not mentioned and Hippolytus’s death was viewed as a direct result of Phaedra’s cruel passion. More differences between Seneca and Euripides’s versions could be found and meaning could be discovered from the timing of Phaedra’s death.I asked myself, â€Å"why caused her to die before or after Hippolytus and what is the meaning of the difference in her suicide? † I realized that in both cases, shame had caused her to kill herself but in each story, shame was a result of something different. In Euripides’s version, Phaedra kills herself because of her own immorality; she feels guilty about her sinful passions towards Hippolytus. In Seneca’s versions, she commits suicide from guilt of seeing Hippolytus’s mangled corpse and realizing that her actions had caused his death.