Abstract
This paper explains that the journey of the Golden Ass, the eponymous hero of Apuleius' "The Golden Ass", is an account of the trial, tribulations and triumphs of one individual, whose story stands for the voyage all people take from birth to death. The author points out that, as 'Book X' reveals, the Golden Ass is uniquely placed to both observe and experience what fortune holds in store for mortal men and women. The paper relates that the Golden Ass's journey in 'Books X and XI' is a fascinating account of what can happen to a rational being that makes full use of his or her intellectual powers and physical circumstances.

From the Paper
"'Book X 'of Apuleius' "The Golden Ass" begins with a moralistic tale about a woman who breaks all the conventions of her society. Her desire for her stepson is thwarted by the stepson's faithfulness to the moral precepts of the time and place, and to his loyalty and devotion to his own father--his stepmother's husband. The stepson's life is also saved by the desire of others to preserve the worthwhile traditions of their world. The majority of the people would have rushed to judgment and executed the son without first having a trial and hearing all the evidence... ."

Tags:journey, everyone, moralistic, powers, lucius

Abstract
This paper will discuss the gender role of Psyche in Apuleius' "The Golden Ass" and determine the how she is identified in the story in this perspective. By analyzing the themes in the tale that reflect her sexuality and her relationship to Cupid, we can see how gender roles get confused at times in the search for love that Psyche sets out to find. In her gender construction her main elements reveal a much more complex blend of gender mixing than one would assume from normal gender stereotypes. The gender aspects of Psyche will be revealed in this study and ascertain how they are mixed throughout the tale.

Abstract
This paper looks at five significant historical figures (Alexander the Great, Hannibal, Jesus, Muhammad, and Magellan) and compares their accomplishments and influence to those of Martin Luther. The paper's thesis question is: Was Martin Luther a bad ass? This question is answered on a historical basis as his actions and achievements are categorized and compared with the five individuals listed above. It also looks at Luther's achievement in 21st Century frame of mind. It focuses on his last influence in all aspects of modern life.

From the Paper
"Carter Lindberg states in his book The European Reformations, "An initial move to control the complicated and multifaceted reality of the Reformation is to define the terms used for it and the era it covers." In order to secure Luther in the annuals of history as a "bad ass," one must not only clarify the characteristics of that title, but also view his accomplishments in a 21st Century frame of reference. First, it should be determined which historical figures might fall into the category of being labeled a "bad ass." At this point, the common characteristics of a historical "bad ass" will become evident. Second, after determining these characteristics, they then must be applied to Luther and the result will be forthcoming."

Tags:civilization, luther, martin, reformation, western

From the Paper
" This study will analyze the concepts of justice and vengeance, and their relationship to love and desire, in the story of Cupid and Psyche in Apuleius' The Golden Ass, or Metamorphoses. The perspective of this study will be that the story as presented by Apuleius is designed to portray the evolution of the spirit. In that context, the story of Cupid and Psyche uses the forces and concepts of justice and vengeance, in opposition to love and desire, to develop the view that the purpose of life is, indeed, the advancement of the spirit or the soul.

This context allows the reader to see that vengeance is not a necessarily negative force, and justice can be a force which benefits even the one against whom that justice is levied. The point to keep in mind in understanding the story of Cupid and.."

From the Paper
"Apuleius was a North African Roman citizen of the second century A.D.; he was a pagan. He firmly believed that his worship of the goddess Isis was valid pursuit of the One True Faith. In his classic picaresque adventure, The Golden Tale of the Ass (aka The Golden Ass), Apuleius contrived to present a comic odyssey with a moral purpose designed to convince readers of Isis' value as a goddess deserving of devotion.
All odysseys lead to home eventually. In The Golden Ass, Apuleius designs a spiritual odyssey for his hero, the man-turned-ass Lucius; all of Lucius' beastly travails lead, eventually, to the homecoming of its hero into "the mindful love of the Goddess" (248): "O Lucius, what a happy and blessed man are you, whom the august deity has selected for such direct honors . . . the day that you have so constantly desired is..."

Abstract
This paper describes the role of the gods in three stories: "Odysseus", "The Golden Ass" and"Tthe Voyage of Argos".

Tags:gods, in, stories

Abstract
This paper analyzes the religious themes in literary works of Chaucer's "The Canterbury Tales", Apuleius' "The Golden Ass", and Boccaccio's "The Decameron." It investigates how the authors illustrate that religion is an important component of daily life of their times. The paper uses of early literary works form the Classic age to the Middle Ages.

From the Paper
"Religion is an important component of early literature, especially literature from the Greek and Roman periods and into the Middle Ages. It is a thread that combines many works of literature, not only because of the manner in which it is addressed, but also because of what the particular author of a work is saying about the dominant religion of his or her time within the context of the story being told. Three such works are Chaucer's "The Canterbury Tales", Apuleius' "The Golden Ass", and Boccaccio's "The Decameron."

Tags:early, middle, ages, medieval, daily, life

Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.

From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."

Tags:preposterous arsy-versy, rude mechanicals, follies insensitive

Abstract
This paper comments on the significance of a specific passage in J.D. Salinger's novel, "The Catcher in the Rye". The passage begins, "Game, my ass. Some game. If you get on the side where all the hot-shots are, then it's a game...". The paper points out the relation of this sentiment to Holden's disillusionment with society and his enchantment with naivete and authenticity.

Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.

From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."

Tags:puck, oberon, musical, play