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I laugh a lot, and truly like and enjoy every minute of lifebut God is and always will be NUMBER ONE with me.

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Skip to main content. Log In Sign Up. Dorotea, Athena, Cervantes, and Homer. In his view, this fatal lack warrants a complete disavowal of any other positive qualities she may exhibit. Yet, as Anne J. For Cruz, Dorotea is rightfully different from the other characters, but only insofar as she is an immensely lay- ered, complex, and developed character. Flores, however, appears to be insensi- tive to this argument.

If, as Carolyn A. The Cervantine appropriation of Homer is at the heart of the invention of Dorotea. Like all commentators of the long series of events that have the inn as their set- ting, Flores draws attention to the special character of the place: As readers will recall, the circumstances at that inn from chapters 32 to 47 are surprising in all respects. A short summary of the most salient points leading to the events taking place there is in order. Aiming to force Don Quijote to return home, the priest and barber from his village have tracked him down to a wild area in the Sierra Morena.

On their way to meet him, they chance upon two unusual characters. First is Cardenio, a well-off gentleman who has become mad as a result of his frustrated love affair with a noble lady, Luscinda. A while later they meet Dorotea. The daughter of rich farmers, Dorotea appears before them dressed as a humble peasant boy. She is disguised to pursue a power- ful nobleman, Don Fernando, who had forced her into a secret marriage, deflow- ered her, and then disappeared.

They all ignore the fact that Don Fernando has just kidnapped Luscinda from the monastery where she had sought refuge and is actually on the run. She even volunteers to play the role of damsel in distress as princess Micomi- cona in an artful farce that they hope will persuade Don Quijote to follow them to a nearby inn from which they hope to take him back home.

Once at the inn, after a few amusing incidents and the communal reading of the novella El curioso imper- tinente, an unimaginable coincidence takes place. This fortuitous arrival opens the way for a highly charged scene of recognition, supplication, and reconciliation in which Dorotea plays the leading role. She delivers two highly effective speeches that, with the support of the many bystanders, eventually manage to set things straight. From this point on, other remarkable guests arrive and join the party, bringing with them their own conflicts.

Discussing the uncanny encounter at the inn between the two pairs of lovers, Flores remarks on an often-unnoticed aspect. He stresses a singular point of view, that of the priest, for whom all the incidents at the inn are because of the inter- vention of Divine Providence: It is when the priest makes a courageous effort to persuade Don Fernando to drop his aggressive stance against Cardenio that he addresses him thusly: Her speech this time is prompted by this curiously evocative scene: What though you be brave?

Was it not heaven that made you so? Go home, then, with your ships and comrades [] to lord it over the Myrmidons. I care neither for you nor for your anger; and thus will I do: While he was thus in two minds, and was drawing his mighty sword from its scabbard, Athena came down [] from heaven for Hera had sent her in the love she bore to them both , and seized the son of Peleus by his yellow hair, visible to him alone, for of the others no man could see her.

Achilles turned in amaze, and by the fire that flashed from her eyes at once knew that she was [] Athena. To see the pride [hubris] of Agamemnon, son of Atreus?

Let me tell you—and it shall sure- ly be— [] he shall pay for this insolence with his life. Hera has sent me, who cares for both of you alike. Hold, therefore, and obey. This will be best, for the gods ever hear the prayers of him who has obeyed them. Then she went back to Olympus among the other gods [daimones], and to the house of aegis—bearing Zeus.

But the son of Peleus again began railing at the son of Atreus, for he was still in a rage. Not only are these two female icons similar in many ways, they also are equally important in advancing the epic momentum of their respective stories.

Like Athena, Dorotea is the only character who is able to notice the lethal fury hidden behind the hesitation of the affronted lover. As swift as the gray-eyed goddess, Dorotea leaps into action to hold back Don Fernando. With, shall I say, winged words, she manages to make him come to grips with himself. Both—the child of Zeus and the daugh- ter of the labrador rico—intervene to physically restrain the slighted men.

More- over, they both employ dissuasion to provoke a change of heart in them. Preventing an unsuitable violent resolution to the conflict, Athena as well as Dorotea ensure the continuity of the epic at a moment of nearly fatal crisis. The goddess, naturally, comes down from above, invisible to all, to hold back Achilles by pulling his hair.

This makes it impossible for him to adopt an aggressive fighting stance, and he cannot help but refrain from unsheathing his sword. There are other similarities between Dorotea and Athena as presented in The Iliad during the rage of Achilles.

Her actions and her speech are framed by heartfelt weeping: As Sue Blun- dell reminds us, Athena is often called on to assist all manner of wandering heroes: The lucid madman whose task it was to bring back the fabled Golden Age would not be any less for- tunate than Achilles, Odysseus, Perseus, or Hercules Blundell And yet, we must not forget that Dorotea is all this even as she is just Dorotea, the barefoot and fallen daughter of a rich farmer found in the middle of the Sierra Morena by a village priest, a humble barber, and a disturbed noble lover.

As readers will remember, chapter 28 of the first part of Don Quijote starts with a reiteration of the Golden Age motif: That some kind of intervention is needed just then is obvious.

At this point in the narrative the quixotic enterprise appears to be floundering. He has abandoned what distin- guishes the epic as such, namely questing, and has settled in a more pastoral mode while forcing a confrontation between his dutiful squire and the invented damsel of his dreams. Not only does Sancho fail to bring back a written reply from Dulcinea, he cannot, of course, come even close to delivering the message. To make matters worse, San- cho has forgotten to take the written text with him and, obviously, completely distorts it in his poor memory.

Finally, the priest and the barber are closing in on their neighbor. It is their hope to forcibly return him to his village, if not to his senses. Even the narrator admits to the poor state of the narrative thread of the historia, which he describes in this fashion: For- tunately, the ones she soon meets there, in the middle of the Sierra Morena, are anything but everyday men.

A small-town man of the cloth, an aristocratic mad- man, and a queerly bearded barber disguised as a squire form a bizarre trio. Read- ers should recall that the priest and the barber are dressed as women when they set out to rescue Don Quijote from the Sierra Morena. That they take off their outra- geous outfits soon after they leave the inn cannot totally erase the effects of their peculiar performance of gender.

What they see is a perplexing and bewitching sight: Made of crystal, alabaster, and gold, this animated statue ought to prompt the image of Greek and Roman models. The question remains, however, as Dudley has also suggested: One thing is certain.

The gender ambiguity that features so prominently in the depiction of she who will soon reveal herself as an early mod- ern Athena makes perfect sense. For Athena as Dorotea to first come into view as a divine youth is simply natural. This being said, though, one must bear in mind that there are great risks involved in seeing a goddess naked, like the stories of Acteon and Diana or Tire- sias and Athena demonstrate. Fortunately the priest, the barber, and Cardenio do not see a full show.

They are viewing something they cannot understand, partly because it does not make sense and partly because it does not belong to their world. No matter how lovely a farmer boy may be, he will still have the feet of a farmer, never those of a Petrarchean beauty or a Donatello bronze—and yet, they are in fact the feet of a goddess. That is, the feet of the goddess who invented the plough and first taught mankind to use oxen to till the fields.

As Harry Thurston Peck explained over a century ago: The sowing season was opened in Attica by three sacred services of ploughing. In this case, the peasant boy is not what he looks like, but not just because he happens to be a girl with lovely feet.

This beautiful girl stands for the goddess who first crushed clods and followed the plough and the oxen walking on her eternally immaculate feet. The above encounter leads to a narration in which Dorotea explains to her future friends who she is and why is she there. It is then that other elements in this classical appropriation become apparent.

According to Dorotea, her life as the only daughter of wealthy farmers was uniquely fulfilling: She is in charge of a vast agricultural enterprise in which the production of olive oil looms large. These are some of the same realms over which Athena presides as goddess of the city, the protectress of civilized life, crafts, and agriculture.

The olive tree that she originated is her tree and her gift to the Athenians. Once again reality and appearances conflict in this depiction. Dorotea, who seems to be simply the daughter of el rico Clenardo lives up to her name. However, if we read Dorotea as a barefoot Athena, we must expect her to live up to that essential attribute of the goddess, her wisdom. Athena is variously known for the following qualities, all variations on the theme of insight: From chapter 28 to 46 she intercedes decisively no less than twenty-six times to save herself and others.

As Dudley shrewdly observes: Like the Sabia Felicia she will untangle the snarled threads of all their stories. In this capacity she becomes the female enchantress at the center of a web of deceptions that holds every one under enchantment. She is the female Percival who can ask the spell- breaking question that will release the entire kingdom. She must become the hero- ine of a new language and a new narrative.

Every Young Trial Lawyer Needs To Watch My Cousin Vinny | Litigation & Trial Lawyer Blog

We had little time to prepare, almost no knowledge of the case, and then each day we walked into so that far more experienced lawyers and judges could run circles around us. She then utters one of my favorite lines in the movie: They teach you Contracts…!

Although Vinny is certainly no role model when it comes to knowledge of the law, legal analysis and ethical behavior, law students could learn from him as to how to use legal thinking in the complexity of actual law practice. Let me give you a concrete example. Recently, I was at a deposition in a large federal case involving multiple fatalities and multiple defendants.

There were over a dozen lawyers in the room, including two faculty members of the Academy of Advocacy. The deposition was being taken by one of the more prominent trial lawyers in the area, and the witness was being defended by one of the more prominent defense lawyers.

Can anyone guess what happened next? Neither of these prominent, experienced trial lawyers knew that. The smartass in me was quite pleased to know the Rules of Federal Procedure better than the two pre-eminent trial lawyers. And so it is with Vinny Gambini. But the judge is not corrupt. The prosecutor is more than fair. On the one hand, this makes the film more human, believable, and funny, but on the other hand it makes the film deeply unsettling. The antagonist here is the uncertainty of justice in our court system, even when the cops, prosecutors, and judges are all well-intentioned.

They were simply in the wrong place at the wrong time in the wrong car. My class was theory-based. I have a B. For the past ten years, my law practice has been devoted to representing injured plaintiffs. I've seen them, and wouldn't recommend them to anyone.

They operate on the belief that homosexuality is a sin, and that its caused by "Satan". They tell you to pray away your desires, and "surrender to the Lord". When you are tempted to act upon your desires, they tell you that Satan is causing this - and by acting on your urges is "turning away from God, and following Satan". Religious groups condemn anything which resembles psychology or anything which is non-religious.

In reality, the religious groups are exploiting one's religious beliefs to reinforce guilt and self-hatred. They use spiritual blackmail e. They also refer to people outside the group as "fallen ones". Effectively, these groups are cults. Some people have suffered extreme depression, and there have even been suicides. Those who survived the religious groups normally report no long term change in sexual orientation.

The only success these groups have is modifying sexual behaviour as opposed to orientation. Homosexuals refrain from homosexual activity, and opt for a life of celibacy instead. Bisexuals restrict their activity to members of the opposite sex.

Homosexuals pursuing marriage, but secretly longing for a same sex partner. You might want to refer your cousin to the link on this posting. He really needs help. Please, tell him that there is no way to convert even if some people might have a different opinion about it. Ask him what his problems with homosexuality are. He probably has some weird image of gays wearing skirts or "female" walk.

Try to convince him that he cannot force himself to love someone he does not love. Why does he want to convert for? There's nothing wrong with being gay I don't know whether you're a good cousin or not because I see you're trying to help him out, but YOU need to realize that tere is really no such thing as conversion Conversion is a cheap way of saying,"I'm going to bury my true feelings and live unhappily for the rest of my life Tell him there is absolutey nothing wrong with him many people dont fit into the perfect gay or straight image.

He shouldnt feel the need to convert. All you should do is support him in whatever he feels is right. If he is determined to try -- I can guarantee that the ex-gay "movement" will fail to help him, and will cause more damage than they do good. The best thing you can do is tell him that you accept him as he is and that you hope he will accept himself rather than trying to change what he is. If this is based in religious conviction -- which I imagine it is, and if he is some form of fundamentalist; I also recommend that you become conversant with the reasons that fundamentalism is inaccurate.

You can start with the site I maintain if you wish, and from there you can go to other sites listed as links. There nothing you can do but be supportive of him and be a good listener when he needs to talk.

I mean love might come in a very different package than what your used to.:) Just so I I saw you get back into your sliver car with your little brother/cousin/or nephew. I think it big booty small waist needed Ladies Horny Hilo1 moms Hilo1. Having lost her house, Princess Ruth Luka Keanolani will stated that she "give and bequeath forever to my beloved younger sister (cousin), “The Honolulu High School is especially adapted to the needs of those who (1) University of Hawaii (6) University of Hawaii at Hilo (1) Upolu Airport (1) Upolu. past 79 years. From my first day at HMSA over 43 years ago, I was struck that HMSA was a spe- Please consult your physician for your personal needs and before making dog, Pickles. you age. Hilo: 1/11, a.m.