The Birth of Computer Programming Ada Augusta Byron King Countess of Lovelace In a world of men, for men, and made by men, there were a lucky few women who could stand up and be noticed. In the early nineteenth century, Lovelace Augusta Byron King, Countess of Lovelace, made her mark among the world of men that has influenced even today’s world. She was the “Enchantress of Numbers” and the “Mother of Computer Programming.” The world of computers began with the futuristic knowledge of one Charles
Father-Daughter Relationships in Sidney’s The Countess of Pembroke’s Arcadia, Marlowe’s The Jew of Malta, and Shakespeare’s The Merchant of Venice Justification for the subjugation of females to males during the sixteenth century came from a variety of sources. Ranging from the view that God gave Adam authority over Eve as penalty for the fall, to a belief in the superiority of a husbands’ physical strength over that of his wife, attempts at rationalization of the restricted freedom of women
just so happens? to be telling the story of his grandmother and how she ?fatefully? came upon the secret to wealth. First, looking at it from the chance perspective, had this not happened, life would have been altered for many people. Countess Anna Fedrova, Countess A-----, is the person who puts the order of chance happenings in motion. Had she not been born, had she been ?damaged? in some way earlier in life, had she not married the man she did, and many other ?what ifs" and ?if onlys" could have
characters contribute to the promotion of Helena as a virtuous character and though in Act. II Sc. v Bertram addresses her with ''here comes my clog'' he does not diminish her already cultivated uprightness which forgoes inherited wealth and nobility. The Countess is convinced that she has a noble virtue that her son cannot achieve through his valour in war. Her virtues were assigned to her by her father and by Heaven to whose intervention she ascribes all her ability to cure the King. Somehow, she is that
Love, Sonnets and Songs. Mary Wroth's prose romance, The Countess of Mountgomeries Urania, closely compares with her uncle, Sir Philip Sidney, 1593 edition The Countess of Pembroke's Arcadia. Wroth was undoubtedly following her uncle's lead by trying to emulate Astrophil and Stella. Astrophil and Stella and Pamphilia to Amphilantus are both about being in love and they both have over one hundred sonnets and songs. After rereading both pieces, I was struck not by their similarities but by
apparent that the youth of the leading characters, Helena, Bertram, Diana and Parolles, is in each case precisely balanced by the greater age of their counterparts, the Countess, the King of France, the Widow of Florence and the old counselor Lafeu."1 Indeed, the dialectic between youth and age is established in the first act as the Countess sees a mirror of her former self in Helena's love sick countenance in scene three when she exclaims "Even so it was with me when I was young," and Bertram's worthiness
Cinderella attends the Prince’s ball alone. In Ever After, Danielle was persuaded by all of her friends to go to the ball, against her stepmother’s wishes, in order to tell the Prince that she is really a peasant girl. She was only pretending to be a countess to save a friend’s life. Danielle’s friend, Leonardo DaVinci, finally said to her, “If you don’t go, the Baroness wins,” (Tennant). This changed Danielle’s attitude because she was not about to let her stepmother win. In Cinderella, Cinderella just
A Queen Adored: England's Elizabeth II Countess of Longford, Elizabeth Pakenham, was born in London England in 1906. She attended Lady Margaret Hall and Oxford University where she studied classical history and philosophy. She later married Oxford professor and politician, the seventh Earl of Longford in 1931, with whom she had eight children. She worked as a tutor from 1930-36 in the Worker's Educational Association, and was a member of the Paddington and St. Pomcras Rent Tribunal from 1946-51
show how this frame affected women’s relationships including marriage and families, and how these relationships were perceived by the culture of “Old” New York through the characters in her novel. The plot of The Age of Innocence revolves around Countess Olenska, who while being raised in New York is considered an immigrant to the “Old” New York society because she married and moved to Europe. Upon separating from her husband who was very cruel to her, she reunites with her cousin May and her family
mollified by these various diversions, and all of upper-class New York appears to be content being anaesthetized by the idle task of upholding wealth and reputation. Only Countess Ellen Olenska and Newland Archer, with their feverish love for one another, test the bounds of this suffocating social structure. Newland and Countess Olenska's love is in strong contrast with the emotional vacuity of their peers, and it is this very contrast upon which the pathos of their story hinges. The lovers relish
how many more of these situations will arise, and in the end, how will this confusion and conflict be resolved? The first time that this is evident is in Act I, Scene IV, where Cesario, really Viola is sent by her master, Orsino, to win the love of Countess Olivia for him. At first it seems as if nothing is out of the ordinary, but Cesario throws a spin on things with his last words of the scene. Cesario indicates that he will do his best to win over the lady, but then in an aside says “Whoo’er I woo
story to the events that follow when contrasted to the nonchalant attitude attributed to those in attendance. The second fantastic incident is that of the appearance of the dead Countess to Hermann. This incident is fantastic in that the three cards named by the Countess are actually the winning cards, meaning the Countess is an apparition and not simply a dream. The final fantastic incident occurs when Hermann miraculously wins at the faro table the first time. The reader now knows, beyond a shadow
poems. Among his many plays is the notable, Twelfth Night, a romantic comedy, placed in a festive atmosphere in which three couples are brought together happily. The play opens with Orsino, the Duke of Illyria, expressing his deep love for the Countess Olivia. Meanwhile, the shipwrecked Viola disguises herself as a man and endeavors to enter the Duke’s service. Although she has rejected his suit, the Duke then employs Viola, who takes the name of Cesario, to woo Olivia for him. As the play continues
In 1896 Yeats met Lady Gregory, an aristocrat and playwright who shared his interest in Ireland's past, especially in its folklore. In 1899 they formed a literary society that was the predecessor of the Abbey Theatre. Among his plays were 'The Countess Cathleen' (1892) and 'Cathleen ni Houlihan' (1902), with Maud Gonne in the title role. In 1899 he proposed to her, but she refused to marry him. As a means of getting closer to Maud, Yeats later...
and this disguise which was meant to assist her only turned out to be a bigger burden in time to come. Complications also arose when viola fell in love with her master, duke orsino, while at the same time had the love interest of orsino, the countess Olivia, trying to woo her. This placed viola in an extremely difficult and complex situation on one hand, she loved the duke and would have liked to do all she could to win his heart. But because she was his servant, she was obliged to serve him
Misperception and Deception in Twelfth Night Twelfth Night is likely one of Shakespeare’s most entertaining and complete comedy. This romance explores a generous wealth of themes and issues. The most recurrent theme is the relationship between misperception and deception. As a result of their environment and immediate circumstances, men are forced into misperceptions. Paradoxically, they are completely trapped by these illusions. Between the bad fortune they encounter and the bad fortune they
and tragic plots within one play, then, can be argued as being too distinct to be coherent. In The Insatiate Countess, however, it is the differences between the tragic plot of the countess, Isabella, and the comic plot of Abigail and Thais, that strengthen the play’s message supporting loyalty in friendship. Written by John Marston, Lewis Machin and William Barksted, The Insatiate Countess’ differing plots might be attributed to the presence of multiple authors. Critic Giorgio Melchiori states the
It's New York City in the 1870s, a society ruled by expectations and propriety, where a hint of immorality can bring scandal and ruin. This is an America every bit as Victorian as her contemporary England. Into this world arrives Countess Ellen Olenska (Michelle Pfeiffer), a woman who has spent much of her life in Europe and is now escaping from a disastrous marriage. Her initial adult meeting with Newland Archer (Daniel Day-Lewis) is sedate - he is engaged to her cousin May (Winona Ryder) - but
Identity Changes in The Count of Monte Cristo The Count of Monte Cristo is a very sourceful book with characters creating different and new identities. Fernand changes to Count de Morcerf during the time of Dantes' imprisonment, Mercedes changes to Countess de Morcerf after her marriage to Fernand, Cadderouse changes to M. Pilletin, Benedetto changes to Andrea Cavalcanti to disguise and murders Cadderouse, and last but certaintly not least Edmund Dantes with the various identity changes. Even though
the lower class of rocks. It takes a child, or an adult in touch with their inner child, to find the potential of the average, dirt covered rock. Through the eyes of a child, each rock takes on a personality, be it a country cousin or a snooty countess. Come through the eyes of a child and experience the beauty and majesty of a rock, from the simple stone to the classy diamond. On our daily journeys we often pass by the humblest of rocks, those that decorate our gardens, or the ones that are