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Antiqua - WILMINGTON, NC - Apartment Rentals
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Governours Square Apartments For Rent - Wilmington, NC Video Clips. Duration : 1.22 Mins.Renting an Apartment With a Felony Or Misdemeanor
Homes For Rent In Wilmington Nc - Renting an Apartment With a Felony Or Misdemeanor
Good afternoon. Yesterday, I discovered Homes For Rent In Wilmington Nc - Renting an Apartment With a Felony Or Misdemeanor. Which is very helpful in my experience and also you. Renting an Apartment With a Felony Or MisdemeanorThe convention of conducting criminal background checks on inherent tenants has escalated over the years. This may have been precipitated by the arrival of a security-conscious company community and also the ease with which public records are now available. In the past, apartment managers had to touch the courts to way criminal background information on a tenant. This in itself was a deterrent because it took time, and effort. Today, the Internet has made this highly easy. One click of the mouse can way lots of information regarding a inherent tenant.
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Why escort checks?
There are various reasons why apartments require criminal background information. One of them is obviously safety. Leasing managers fear that if criminal elements gain a foothold within the apartment community, they will attract police action within the complicated which in turn alarms and unsettles the rest of the tenants.
Another theorize is that they want to prevent their rental rates from dropping. Crime and constant police action within a community drives asset values down and hence rental charges. This can cause apartments to begin to lose money especially if most of the tenants decline to renew their lease agreements.
Finally, apartments escort criminal background check because they want to be fair to every tenant. By production it a procedure and a convention of running checks on everyone, they remain in compliant with the housing laws.
Can you still rent with a felony or a misdemeanor?
The talk to this demand is-it depends. Distinct apartments have Distinct criteria for approving tenants. Most run criminal background checks. Misdemeanors, especially those keen traffic, are ignored. Those that are more serious, for instance those keen sex, drugs and violence can raise eyebrows and some apartments can surely deny you approval because of that. If you have any misdemeanor convictions keen sex, drugs or violence then you need to disclose this information in the application. Failure to do this can cause denial because it is deemed as falsifying an application. In some instances, if you disclose this information ahead of time and also prove that you have not been complicated in any similar incidences in the last 5 years, you can be approved.
If you have a felony, things can get a puny tricky. Many apartment complexes routinely deny approval to inherent tenants with felony convictions and if those convictions involves sex, drugs or violence, then the denial can be almost guaranteed. The best way out of this is, again, to be rigorous upfront. You can also write a letter to the management explaining what happened. If you have a advice from man else this can also lend power to your request for retrial for approval.
If all else doesn't work then it may be time to see either you qualify for an criminal record expungement depending on the state you live in.
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Homes For Sale In New Braunfels Tx By Owner - Montgomery Central assessment District (Mcad) - Texas - asset Tax Protest
Hello everybody. Yesterday, I discovered Homes For Sale In New Braunfels Tx By Owner - Montgomery Central assessment District (Mcad) - Texas - asset Tax Protest. Which may be very helpful in my opinion and also you. Montgomery Central assessment District (Mcad) - Texas - asset Tax ProtestThe Texas Montgomery Central assessment District [ Mcad ] appraises homes and other real estate; this value determines your property tax amount. Reducing your property taxes involves some knowledge and a modest commitment of time, although you do have the choice to hire a pro property tax consultant. Basic steps to reducing the assessable value set by the assessment district include annually protesting store value and/or unequal assessment annually, reviewing the assessment district evidence, preparing your case for presentation, attending the informal consulation with a staff appraiser, and appearing at a formal assessment delineate board (Arb) hearing if necessary.
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Note: Most people are not aware that the Texas property tax code makes provision for the property owner to gather the assessment district evidence. This information, sometimes called the House Bill 201 package, can be very useful in preparing the case for your reduction.
The menagerial appeal process at the assessment district office regularly involves two steps: 1) an informal consulation and 2) a formal Arb hearing. Although the property owner is not required to attend an informal hearing, most property tax protests are resolved by agreement in the middle of the property owner (or property tax consultant) and a county appraiser at these meetings. County appraisers are supposed to make changes if there is evidence to maintain the change, but they are typically reluctant to sell out the assessable value for home by considerable amounts. The next level of meeting, which can occur if you are not able to reach an agreement one-on-one with the county appraiser, is a formal Arb hearing. property owners who were not able to decree through an informal consulation have a second opening to present their case, and are sometimes able to receive resolution at a formal Arb hearing.
It is prominent to arrive early for your assessment district meetings and make an exertion to have a polite, pleasant, and calm disposition, even if you are feeling anxious. After you check-in with the clerk at the front desk, be ready to wait 30 to 60 minutes. Maybe bring a book or some work to pass the time. Greet the assessment staff kindly and graciously. At this level, their goal is like yours, to reach a settlement expediently. After you discuss evidence with a county appraiser, they will sometimes make an offer to decree your property tax protest. You can either accept the offer or continue your appeal with the Arb hearing. In most cases, the value offered informally will also be recommended by the county appraiser at the Arb hearing. The assessment district knows that most property owners are often reluctant to attend the Arb hearing because of the supplementary time complex and the process of a formal presentation can feel intimidating for some people.
Formal hearings typically consist panels of three or more Arb representatives, the property owner (or property tax advisor ), and the county appraiser. After introductions and a short explanation of the process, the county appraiser will delineate the subject property. The property owner presents opening evidence and responds to any questions from Arb representatives. Next, the staff appraiser presents evidence on profit of the assessment district and responds to any questions from the Arb panel. The property owner has an opening for rebuttal and to respond to any supplementary questions from the Arb panel for explication of the facts presented. Finally, the Arb panel deliberates and announces a decision. The decision is not subject to supplementary negotiation at the hearing. You should politely thank the Arb members for their consideration. If you are not satisfied with their decision, you may be able to pursue binding arbitration or a judicial appeal.
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Homes For Rent In Wilmington Nc - Home for Sale: 8417 Fazio Drive, WIlmington, NC
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Don't Buy Tax Lien Certificates Unless You've Done Your Homework!
Homes For Sale In New Braunfels Tx By Owner - Don't Buy Tax Lien Certificates Unless You've Done Your Homework!
Good morning. Now, I learned all about Homes For Sale In New Braunfels Tx By Owner - Don't Buy Tax Lien Certificates Unless You've Done Your Homework!. Which is very helpful if you ask me so you. Don't Buy Tax Lien Certificates Unless You've Done Your Homework!I went to a tax sale yesterday in an out of the way rural municipality in New Jersey. Unlike most of the tax sales in New Jersey this sale was poorly attended. New Jersey is a very contentious state for tax lien investing so this was an uncommon event.
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Most serious bidders arrive an hour before the sale starts. At first, I was pleased to see, with less than an hour to go before the sale, that there was only one other bidder there. Then I did my explore on the properties that were left in the sale and I discovered why other investors didn't bother with this sale. Out of the thirteen properties that were left in the sale, there was only one decent property. All of the other properties were vacant land and when I looked on the tax maps and checked with the zoning group (this is why I arrive at the sale an hour early) I found out that none of these properties were build-able lots. Most of them were land locked and none of them were large adequate to build on, even though one parcel was a three-acre lot.
Since the other bidder there was a expert bidding for an institutional investor, I decided not to bid on any of the properties in the sale. I knew that if I bid on the one property that had a house on it, the expert bidder would bid high prime for it, so I decided not to bid him down and not to bid on any of the other properties since they wouldn't be profitable. I stayed colse to to see what would happen at the sale.
About fifteen minutes before the sale three other bidders arrived. These investors were new to tax lien sales and did not admittedly know whatever about them. They asked the tax collector a few questions before the sale and indicated that they admittedly weren't there to bid but intended to watch since this was their first sale. When the sale began the tax collector let us know which properties had prior liens. Four of the undesirable properties had prior liens. I was not surprised and this just confirmed my suspicions that these properties were not worth bidding on. If they were, then the prior lien holder would have been there to bid on them, or would have paid the subsequent taxes and prevented them from being included in the tax sale.
The tax collector announced the first property, and seeing that no one was bidding on it, one of the new bidders could not resist. He bid 18% and was awarded the lien (this was the 3 acre landlocked and undersized lot - you need 5 acres to build here). The next three properties were struck off to the township at 18%. The next property was the only one with a house on it and that went to the institutional buyer at 18%. There were eight properties left. Other one went to the township. The temptation to bid and get a get a lien at 18% was too great for the other two new investors; they bought three liens each, each one at 18% interest. Fortunately for them, they were very small liens.
After the sale, I explained to them that they should check the zoning on properties before they bid on them. The tax collector does not tell you before the property is sold if it is unusable property and that is why the owner did not pay the tax. The tax collector only has to convey that industrial properties may be field to the Environmental Clean Up Act, the Spill recompense and control Act, or the Water Pollution control Act. And this is regularly done in fine print; on the consideration of the sale and the bidder data sheet.
When it come to buying tax liens, and this goes for other states as well as New Jersey, it's "buyer beware." As the investor, it is your accountability to make sure that the property that you are purchasing a tax lien certificate on is a needful piece of property. Even in states like New Jersey, where real estate is at a prime and has increased in value tremendously over the last five years, there are still tax parcels that are worthless. In many areas of the state, municipalities have been steadily expanding the zoning requirements for all types of properties. In many rural areas you need a few acres in order to build a house.
I know that many of you are under the false assumption that if you are a holder of a tax lien certificate; you are guaranteed to get paid. This is not true; it is a misrepresentation that is fostered by real estate infomercials and high priced seminars. The truth is that no one guarantees that you will be paid. You are first in line to get paid, but there are circumstances in which you might not get paid. You do have the right to foreclose on the property if you don't get paid within the redemption period, but what if the property is worthless? Than you have a worthless piece of property that you have to pay taxes on.
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Homes of the Rich and supreme
Homes For Sale In New Braunfels Tx By Owner - Homes of the Rich and supreme
Good evening. Now, I learned about Homes For Sale In New Braunfels Tx By Owner - Homes of the Rich and supreme. Which is very helpful if you ask me and also you. Homes of the Rich and supremeWe see pictures of the world's most richest individuals in the news and magazines, but off camera, what type of lives do they lead? Are their homes all glitz and glamor, or retreats from an otherwise demanding daily life.
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From Omaha, Nebraska, to London, England, here are the homes of some of the world's most well known billionaires. Some of these digs are exactly what you'd expect, while others are quite surprising.
Bill Gates:
Who could talk billionaires without mentioning Bill Gates. Even in a tumbling economy that has seen the rise and fall of numerous financial titans, Bill Gates has retained his billionaire status with a net worth of about billion. His home, though not garish, is absolutely his castle. At 66,000 quadrate feet, this hillside fortress in Medina, on the shore of Lake Washington is virtually surrounding with mature trees and forest except for a cleared lawn area by the lake. Faultless with a 60 foot swimming pool, with underwater stereo system, and 1,000 quadrate foot dining room, we're certain Bill has all the comforts of home after a busy day at the office.
Warren Buffett:
Although his fortune took a billion dollar loss during the recession, venture mogul Warren Buffett is still up there as the world's second richest man. His unpretentious home reflects an owner who still appreciates the value of a dollar. He resides in the same grey stucco, Omaha, Nebraska house he bought in 1958 for ,500.
Lakshmi Mittal:
Mittal's home is a far cry from our former billionaire, with a house that reflects his status as the wealthiest man in Britain, and Chairman and Ceo of Mittal Company, the largest steel victualer in the world. His townhouse at Kensington Palace Gardens was purchased for 8 million in 2004. After a tough day at the office, Mittal retires to the "Taj Mittal", Faultless with 12 bedrooms, indoor pool, Turkish baths, and 20-car garage. Sometimes he even fires up the barbeque and invites over neighbor, the Sultan of Brunei to join him.
Paul Allen:
Paul Allen, owner of the Portland Trailblazers and co-founder of Microsoft, has remained close to his childhood roots near Seattle. His 10,000 quadrate foot estate is settled on Mercer Island, on the shores of Lake Washington. His waterfront home provides the perfect facilities to dock his yacht (the world's largest), Faultless with helipad.
Michael Dell:
Michael Dell, founder of Dell Computers was a billionaire before he turned 40. His 33,000 quadrate foot Austin, Texas mansion sits on a hilltop on 60 acres. Seeing more like a college than a house, Dell's home features eight bedrooms, 21 bathrooms, a discussion room and home gym.
Larry Ellison:
You would expect that the richest man in California, and co-founder of Oracle would have a home reflecting this status, and Larry Ellison's million Malibu pad does not disappoint. In 2004, he purchased five beachfront properties (including one house, just for the pool), to originate a inexpressive oceanfront compound. In retention with his credit for extravagance, the estate included a million dollar entertainment law that features a massive video projector at one end of a drained swimming pool, using the gigantic hole as a giant subwoofer.
Prior to construction his Malibu home, Ellison constructed a 0 million Japanese palace styled home in Woodside, California, Faultless with its own 2.3 acre lake.
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Century 21 New Braunfels Tx - A Brief History of the Catapult
Hello everybody. Yesterday, I learned all about Century 21 New Braunfels Tx - A Brief History of the Catapult. Which may be very helpful in my experience and you. A Brief History of the CatapultWe typically think of a catapult as something that was used in the Middle Ages to destroy the walls of a castle. But catapults have a very long history dating long before the time of castles and they were industrialized and designed in many dissimilar ways by many dissimilar cultures over the centuries.
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What is a catapult?
The general definition is that a catapult is a motor that stores energy then swiftly releases this energy to fire a projectile. To be a "real" catapult the motor commonly has to be too large for a person to carry. If we just used the warehouse and issue of energy to define a catapult then a longbow would also fit this definition. So the size of the motor is important.
How did catapults develop?
Catapults are an offshoot of the Crossbow. Over time crossbows got larger and larger. They went from being a hand-held weapon to something called the Belly-Bows which were so large they had to be braced against a knight's belly. From there they got even larger and became something called stand crossbows where they were mounted on stands. Finally they got large sufficient to be defined as something in their own right and no longer crossbows. This size turn also brought about changes in how they operated.
When did the first catapults appear and where? The earliest writings of catapults were that they originated in China nearby the 3rd and 4th Century Bc and this type of early catapult was much like a big crossbow. They stood nearby 8 feet tall. True that these are catapults but the thing that makes a catapult into the motor we commonly reconsider to be authentic is the development of the swinging arm. This is the arm that holds the bucket and projectile.
Variations of Catapults
The term "catapult" is used to define a very wide collection of large machines for hurling projectiles and some of the more common variations include the trebuchet, which is a catapult that uses gravity and a seesaw effect to hurl its projectile. Someone else incompatibility is the ballista, which is similar to a crossbow and uses twisted skeins of material to originate torsion as its way of storing energy for release.
The End of Catapults
With the invention and use of gunpowder and the subsequent creation of artillery the catapult became obsolete as the weapon of choice for warfare nearby the fourteenth century.
Catapults have a long history and changed dramatically over many centuries. The true catapult that we think of today as a siege motor only saw tiny use in the middle ages. Just as it was coming into its power as a motor of destruction gunpowder and artillery swiftly supplanted it as the weapon of choice.
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Fighting Infection Without Antibiotics - Natural Therapies That Work
Wilmington - Fighting Infection Without Antibiotics - Natural Therapies That Work
Good evening. Yesterday, I found out about Wilmington - Fighting Infection Without Antibiotics - Natural Therapies That Work. Which could be very helpful for me so you. Fighting Infection Without Antibiotics - Natural Therapies That WorkMany people, for various reasons, can not take antibiotics. Unfortunately, I am one of these people. They either cause yeast infections upon termination of the treatment or they simply don't offer a permanent solution, causing a rebound where the original problem comes back even more severe, necessitating stronger and stronger antibiotics for longer periods of time. This is exactly what happened to one of my clients.
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He contracted a blood infection so his doctor prescribed an antibiotic treatment which seemed to work. However the infection came back stronger so his doctor put him on a stronger antibiotic for a longer period of time. Sound familiar? He had just finished this second antibiotic when he and his wife happened to come into my office on another matter. We invariably chatted a little about his condition and it was all I could do to restrain my horror at what had happened. I knew he was on dangerous ground. I just didn't know how dangerous.
I told him about my experience with an ultraviolet light treatment that purifies the blood called UBI or Ultraviolet Blood Irradiation, also known as Photoluminescence. I had used it the previous year to cure the flu in a single day. If you are interested in learning more about this life-saving therapy, it is one of the topics being discussed at The Delaware Conference on Alternative Medicine being held in Wilmington in March. More information can be found at altmedangel.com.
A week later he called for the name and number of the doctor who was a 2 ½ hour drive from his home. I gave him the information and he booked an appointment that same week. Two days later and two hours into his trip, he got lost and stopped to ask for directions. Upon getting back into his car, his knee went out. It got progressively worse the rest of the day. Since it happened so suddenly, no one thought it was an infection, but it was. It was a candidiasis infection in his knee joint. An extremely rare condition. His wife told me later that there were only 40 cases in existence of this particular problem.
The UBI treatment worked to get the blood infection under control, but after two weeks of testing to find out what the other problem was, they decided that it was caused by the second antibiotic. His treatment would consist of removing the knee joint, waiting six to eight weeks for the infection to totally clear, and replacing it with an artificial knee. They put a temporary spacer in the leg. He could not move the knee at all or put any pressure on the leg. He was bedridden and in extreme pain the whole time.
Well, it took three months for his infection to clear and another several weeks before the knee replacement took place plus recuperation time. All in all, five months of his life were stolen by an antibiotic.
Common Sense Medicine
I recently received a third degree burn which took all the skin and some of the muscle off a one inch section of my finger. It was really raw. I washed it and disinfected it with liquid oxygen and all was fine for two days. But the band aid slid off center during the third night and allowed infection to set in on that side. Over the course of the next 48 hours, my finger on the infected side of the wound swelled to almost twice its usual size. Although the skin on that side of the cut was red, the finger was not. It was just swollen and getting worse by the minute as it moved down my finger toward my hand.
I figured the infection was deep inside the finger and a topical treatment wouldn't work. I knew if I called my doctor he would want to see it and then he would prescribe an antibiotic. Since I wasn't thrilled about either missing work to see him or taking the drug, I decided to take the next 24 hours and try to treat it myself. However, not having been in this situation before, all I had was my common sense.
I knew that salt water was good for keeping wounds clean. I also knew that cleaning was not enough. I needed something to kill the bacteria deep inside my finger. I knew that the most powerful natural antibiotic is garlic and that grapefruit seed extract kills bacteria on contact. But how could I get these substances deep inside the finger to work at the cellular level?
At first I thought of DMSO. That would probably work but it would also probably hurt and I don't like the smell or the garlic taste in my mouth after using it. Then I thought of Active H and it's mechanism of action. It can pass right through the cell wall and carry nutrients with it. It can also change the pH of the cells to create a bioterrain that is inhospitable to bacteria... definitely worth a try.
I filled a bowl ½ way with very hot water and mixed in some sea salt, Active H, garlic, and grapefruit seed extract. I then soaked my hand in the solution for ½ hour. Voila! The next day the swelling had subsided significantly. I did the same the next evening and by the following day my finger was back to normal. No losing time from work and no antibiotics.
I would imagine that it may have worked just as well using only garlic and water but I don't know how it would have penetrated without the Active H.
The reason I chose hot water instead of cold is because that's what the body does. It increases the temperature at the site of infection because bacteria need a certain temperature to survive and they can't stand the heat for too long. Cold may work well for inflammation from other causes but it would simply put bacteria into hibernation. But by the time I finished mixing the ingredients and settling in with my hand, the water was pleasantly warm.
By the way, I used 4 squirts of the spray garlic from Omaha Steaks, one scoop of powdered Active H (about 2 capsules), three drops of grapefruit seed extract and some sea salt in about 3 cups of water. I had planned on doing this twice a day, morning and evening but my schedule did not allow morning. So I left the bowl on the bathroom sink and the next morning just dipped my hand in for about 10 seconds after washing.
So if you're like me and either can't or hate to take antibiotics. Try common sense. It just might work.
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Paid to Place Review: Warning - Read Before Buying
Wilmington - Paid to Place Review: Warning - Read Before Buying
Good morning. Now, I learned about Wilmington - Paid to Place Review: Warning - Read Before Buying. Which is very helpful in my opinion so you. Paid to Place Review: Warning - Read Before BuyingPaid to Place Review is a warning to read before buying. It is a system that is used for making money. Paid to Place is a website advertisement by Kathy Garcia offering a home based business to make money through the placement of ads. Online and offline ads for many reputable companies are offered as ways of generating income. It is a well crafted sales pitch that has some merit aimed at those who want to work from home. Garcia goes on to say, "You only work with a few of the very best companies and products in the country and they want to keep it that way!"
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This is touted as a ground floor opportunity because hardly anyone knows about it: there are 158,000 Google search results as of this writing. There is an income generator on the sales website whereby you can enter how many sales you think you will make and an income amount is displayed. I entered 100 sales per week and the calculator shows a total monthly income of ,200. Wow! I don't know if you can make 100 sales per week with this system but I became interested at that figure. She goes on and on about how easy this program is and how anyone can do it. She even throws in a good bit of family background, such as being a stay at home mom, to build her story to, as she says, "I kind of feel like we've bonded a little bit." She states the company gives a 60-day guarantee that if you don't want the program for any reason, return it and get your money back. Paid to Place is priced at .95 with no monthly subscription, and a couple of bonuses when you join.
After completing a simple form to see if you "qualify" (that should be warning in itself), you're given the opportunity to join. Then you're presented with the all too often one-time chance to upgrade (another warning) not once but three times. This is called backdoor sales. The first upgrade, priced today at (regularly 7) will "blast out your Paid to Place affiliate links to 2,500 hot prospects." Not sure who those would be but perhaps others looking to make money online. Then there is the "Search Engine Submission Tool" for and finally the "Business Success Blueprint" plus 2 bonuses for just another .90. You can also check a box for "other streams of income."
You can't actually find the company offering this opportunity except by paying the .95 through this one ad (another warning sign). And then you only have access to the Training page. Upon entering the program's training page, you are welcomed with a step one "get your ads/offers here." That link takes you to an affiliate site to get links for ads for which you will get paid according to its terms of service. There is some legitimate material for training through videos such as "Basic Computer Skills", "Basic Getting Started" and three webinar recordings in the welcome note. On the left panel are some links to Main, Traffic, Resources, Training, Web and an Information link. Most of the information provided in the links below these headings can be easily found through a search on Google.
Under the Main section is a link to "Start Here" where you find a Jump-Start Guide. The guide is very elementary and includes a letter from Kathy Garcia. Wonder why the CEO didn't put an introductory letter in the guide (another warning sign)? Another link takes you to "Get Training". Here you're offered a tailored training to accelerate your learning curve with virtually no trial or error by Kathy's staff. Perhaps Kathy is the CEO? Perhaps Kathy doesn't really exist. Without going into any details of what the training is all about, the cheapest option will cost ,400 (another warning flag)!
Paid to Place is licensed in Wilmington, DE (as are many corporations for tax purposes) but its office is in St. George, UT or is it in Cheyenne, WY? The website is registered to a John Shaver in St. George under the domain name of securedweborders.com and there is a Better Business Bureau of Utah review on file. However, the Better Business Bureau of Northern Colorado also has a business review for the company listed in Cheyenne. While neither office lists any complaints, it is not BBB accredited and the Cheyenne office lists the company rating as an F on a scale of A+ to F.
You might want to pass on the Paid to Place offer or at least proceed with much caution. There are a number of income opportunities available that don't include the backdoor sales upgrades and are far less expensive. Look for opportunities that state upfront what your total program cost is including initial membership, in-depth training, and coaching.
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The Study of the Gothic Element of double in Poe's selected Works
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General Background
Poe
An important and innovative re-interpreter of the Gothic in the literary world was Edgar Allan Poe (1809-1849) who asserted 'that terror is not of Germany, but of the soul'. His stature as a major form in world literature is primarily based on his highly acclaimed short stories, poems, and valuable theories, which established an influential rationale for the short form in both poetry and fiction. Poe is also sublime for his Gothic style of writing. Fisher affirms that: "Few would hazard a challenge to long-standing plan that Poe was a expert of the Gothic bad dream tale, although many might not as effortlessly be aware that he did not manufacture Gothic fiction" (p.72). surely Poe turned the Gothic fiction of the eighteenth-century to the internal cries and desires of human being. Aside from a tasteless theoretical basis, there is a psychological intensity that is characteristic of Poe's writings, especially the tales of bad dream that consist of his best and best-known works.
Double
A valuable element of Gothic genre is the theme of double. In Gothic (1996), Fred Botting writes that "at the end of nineteenth century customary Gothic figures-the duplicate and the vampire-reemerged in new shapes with a different intensity and anxious investments as objects of terror"(p.135). It seems so terrible when one looks at everywhere and sees his own image and likeness. The proximity of the double, thus, could be interpreted as an explanation for the alienation of human being in the contemporary world. Botting expresses that "the loss of human identity and the alienation of self from both itself and the social bearings in which a sense of reality is secured are presented in the threatening shapes of increasingly dehumanized environments, mechanic doubles and violent, psychotic fragmentation" (p.157).
Doubles are seen in different forms and shapes in Gothic texts. The mostly used forms are doppelgangers, mirror images, shadows and even mandrakes. In most of Gothic fictions the theme of doubles and mirrors exist. Dealing with their doubles, characters come to know those aspects and facets of their personality which have been alien and unknown to them. Doubles appear in various forms; doppelganger, alter ego, shadow, twins, mirror images and even mandrakes. As Botting asserts, in Poe's fiction: "Doubles and mirrors are used to astounding effects..." (p.120). Any way what seems valuable to consideration is that the meaning which the doubles transport is the same; they are used to show the plan of self-estrangement and self-destruction of the main characters to the readers. This lack of self-knowledge which in many cases leads to self-destruction is emphasized by both authors in their works like "William Wilson", "The Tell-Tale Heart", "The Fall of House of Ushers" by Poe. The writer's use of the idea of 'The Double' implies that all people can be misled by appearances through their emotional tendencies, just as everybody can be reassured by knowledge through the doing of his/her rational functions. The term doppelganger which has been remarkably used by Poe will be defined first.
Doppelgänger
According to the Merriam Webster's Dictionary (2004) doppelganger means "a ghostly counterpart of a living person." In German it derives from Doppel (double) and Gänger (goer), meaning "double goer", in German folklore, a wraith or apparition of a living person, as great from a ghost. The plan of the existence of a spirit double, an exact but commonly indiscernible replica of every man, bird, or beast, is an ancient and total belief. To meet one's duplicate is a sign that one's death is imminent. The doppelganger is a beloved stamp of bad dream literature, and the theme took on valuable complexity.
Some stories offer supernatural explanations for doubles. These doppelgängers are typically, but not always, evil in some way. The duplicate will often impersonate the victim and go about ruining them, for instance through committing crimes or insulting the victim's friends. Seeing is the original kind here; the doppelganger, as it appears and reappears in literary and other cultures, is above all a thing of optic fascination and terror. Thus notions of doubling involve not only replications of identity, but also transformations in identity, where the self appears to be in the wrong body. A case which combines the two possibilities would be Oscar Wilde's "Picture of Dorian Gray." The idea of a phantom 'double' has existed throughout recorded history, and still flourishes in superstitions, fairy tales, and folklore throughout the world. It is taken seriously by some psychologists as an example of an out-of-body experience. It figures in many primitive religions, where the 'double' is assumed to be the person's soul. But the doppelgänger plan has also schemed sophisticated people, and induced in them a dread of the unknown and a morbid assumption of doom akin to the responses of primitive groups.
Poe and the Double
One of the best examples of Edgar Allen Poe's obsession with the theme of the duplicate can be found in his highly strange story "William Wilson", the tale of two souls who surely seem to become one. The story begins with a foreshadowing of cryptic reality when the narrator immediately states, "Let me call myself, for the present, William Wilson". As the story opens, the narrator, a schoolboy, finds himself in the same class with other boy who shares his name. This is not so unusual, except that the narrator feels the other boy takes a perverse satisfaction in copying his "gait, [his] voice, [his] habits, and [his] manner," thus production himself a virtual copy of the narrator. At last the two boys surely take on the same facial features.
Reluctant to delineate his true identity, the narrator leaves the reader wondering if the claim is a lie or possibly the corollary of a "conflict within the soul. Added disclosing his inner conflict, the narrator admits "William Wilson [is] a fictitious title not very different to the real". Acknowledging the similarities between himself and the other William Wilson, the narrator, points to the first hint of doubles in the story. There are, however, two areas in which the other William Wilson does not look the former. Due to some sort of physical defect, the "other" William Wilson's voice can scarcely be raised above a whisper; and the "other" William Wilson's every instinct is good. The narrator, on the other hand, proceeds from schoolboy mischievousness to a life of crime, primarily through an addiction to drinking and gambling.
Here, nevertheless, the "other" William Wilson persistently intrudes into the narrator's life, either warning the narrator that he is going beyond the boundaries of standard behavior, or warning others that Wilson is going to hurt them. He feels that he is being conquered by his double: "...a proof of his true superiority; since not to be overcome cost me a perpetual struggle". Finally revealing the conflict between the two William Wilsons, the narrator addresses the other William Wilson as "Scoundrel! Impostor! Accursed villain!".
Regarding the narrator's point of view, at first espy it seems that he is addressing a doppelganger; since all that this duplicate does sounds unpleasant to him: "although there were times when I could not help observing, with a feeling made up of wonder, abasement, and pique, that he mingled with his injuries, his insults, or his contradictions, a inevitable most inappropriate, and surely most unwelcome affectionateness of manner". He continues to challenge the double, "You shall not-you shall not dog me unto death! corollary me, or I shall stab you where you stand". He often calls his duplicate as "my tormentor" or "my antagonist" and "my evil destiny", since he all the time annihilates his plans. At last the narrator can stand it no longer, and fatally stabs his opponent to get him out of his life. The story ends with both of them covered in blood, and both of them apparently dying.
The "other" Wilson Finally finds his voice: "You have conquered me, and I yield. Yet, henceforward art thou also dead -- dead to the World, to Heaven, and to Hope! In me didst thou exist -- and, in my death, see by this image, which is thine own, how utterly thou hast murdered thyself!". However, in arguing "Homely Gothic" Botting believes that what happens in "William Wilson" is that: "his mortal foe has been his inverted image, an alter ego that, unlike the doppelganger, is a good self, an external image of good conscience." This statement is true when the reader recalls that in the procedure of the story the hero of the tale leads an immoral life; from the time he grows up as he confirms: "I grew self-willed, addicted to the wildest caprices, and a prey to most ungovernable passions." while he finds, wherever he travels, his illegitimate task let down by the form that haunted him at school.
"This interference often took the ungracious character of advice; guidance not openly given, but hinted, or insinuated". Thus, in this tale of twin-selves, the surviving William Wilson represents man-without-morality. His troublesome double, who enduringly interfered with Wilson's schemes by whispering caution or truth, represents all that was healthy or inevitable in his personality. Poe externalizes his character's internal struggle. Virtue Finally succumbs to vice. However, in murdering his conscience, Wilson failed to achieve the liberation he sought. Instead, his life turned into a living death. The climax turns the tale around; what appeared to be an list of some external haunting is seen as the subjective alteration of a hallucinating individual. "It was Wilson; but he spoke no longer in a whisper, and I could have fancied that I myself was speaking while he said..."
In "The Fall of House of Usher", doubling spreads throughout the story. The tale highlights the Gothic highlight of the doppelganger and portrays doubling in inanimate structures and literary forms. The narrator, for example, first witnesses the house as a reflection in the tarn, or shallow pool that lies alongside the front of the house. The mirror image in the tarn doubles the house, but upside down, an inversely balanced association that also characterizes the association between Roderick and Madeline. The theme also appears in the metaphor of a mind infected with madness, suggested by Roderick's poem "The Haunted Palace."
Also, while Roderick's declining reasoning condition is echoed in the collapsing house, overgrown with parasitic plants and wrapped in a sort of unpleasant swamp gas, the fissure which Finally destroys the Usher mansion surely brings the theme of dualism to a crashing climax. Roderick's extreme sensitivity to Romantic literature and his immoderate desire to reserve Madeline's corpse hint at other important themes, those of decadence and decay. Beside doppelgangers, Poe uses other form of doubles in the story; that of mirror imagery. The House of Usher is also similar to Roderick in their description. The house's facade, as the narrator describes, resembles a giant face or skull with its eye-like windows and the hair-like fungi that hangs on the house's facade. The stonework that covers the Usher house is in decay. This stonework reminds the narrator "...of old wood-work which has rotten for long years in some neglected vault". The Usher House seems so fragile that it seems its instability will cause it to fall. Roderick's complexion mirrors the house's facade. Roderick' large and luminous eyes are a mirror image of the house's "eye-like" windows. Roderick's soft and web-like hair resembles the house's hair-like fungi that hang on the façade. The stonework on the facade looks old just like Usher does. In addition, Usher's trembling resembles the house's instability which will cause it to fall. One can see how the Usher house and Roderick Usher mirror each other.
There are other "objects" that can be found in the story that mirror each other. These two "objects" are Madeline Usher, Roderick's twin sister, and Roderick. Roderick projects his own morbid self-absorption onto the form of his dying sibling, in corollary turning his twin into an external mirror image of his deteriorating reasoning state. One might say that Madeline is the reflection of Roderick's mind and the Usher house of which will "fall." This "fall" might be physical and/or mental. In Roderick's case, he fits both categories. The similarities and links between Roderick and Madeline are too inevitable to be emancipated. One of Roderick Usher's paintings features a burial vault lit from within, as if he knows about a life-force coming from inside a coffin. Roderick loves his sister like no other. Their birth and death occur at the same time. Both siblings publish feelings of gloom and doom.
Madeline appears ghostly, as if she is just an apparition. Roderick too appears deathlike and feels his sister's every move and presence; when he announces that she is exterior the door and has come for him, she appears exactly as he predicts. The elimination of one sibling thus spells the end of the other. Indeed, after entombing his sister, Roderick becomes more disturbed, wild, and fearful, realizing fully that his death time has also arrived. If the two siblings are in fact one in spirit, then their actions may also be interpreted as suicide rather than murder. What seems clear is that Poe does not concern himself with the moral actions of the characters in "The Fall of the House of Usher"; therefore the narrator feels no guilt for having assisted in the entombment of a someone who may possibly be alive. The story seeks primarily to stir fear in the reader, with the issue of morality marginalized. The characters control in an enigmatic universe where all of them, particularly the protagonist and the doppelganger, are equally amoral. These two can be defined as doppelgangers that are of opposite sexes; together they form a unity, of body and mind.
The identification of the narrator in "The Tell-Tale Heart" with the old man is a original theme of the story. The narrator and the old man are on such equal balance that they seem approximately like the same person. Many times throughout the story, the narrator says that he knows how the old man feels. He claims to know the groans of the old man, and that he too had experienced the same moaning - not of pain or sadness but of mortal terror. It is a terror which "arises from the lowest of the soul when overcharged with awe". The narrator says: "I knew the sound well. Many a night, just at midnight, when the entire world slept, it has welled up from my bosom, deepening, with its echo, the terrors that distracted me. I say I knew it well. I know what the old man felt..." The narrator is customary with such terrified aggravation quite well: "He (the old man) was still sitting up in the bed, listening; - just as I have done, night after night, hearkening to the death watches in the wall". Apparently, the protagonist has no rational think for wanting to murder the old man.
Definitely, he claims the old man has never done him wrong and that he loves him and does not want his money. Why, then, is there a need for murder? "Object there was none. Passion there was none", says the narrator. The narrator never explains how or why exactly the old man's "pale blue eye, with a film over it" bothers him so greatly. surely he only thinks it was the eye that first prompted him with murderous thoughts: "I think it was his eye! Yes, it was this!". If one interprets the "eye" not as an organ of foresight but as the homonym of "I.", thus, what the narrator Finally wants to destroy is the self, and he submits to this urge when he could no longer consist of his irresistible sense of guilt. Thus, the murder becomes an act of suicide and that the protagonist and the antagonist are moral equals; In fact it could be suggested that the two characters are the same person. One clue for this argument could be this fact that the police find no trace of an old man in the house. The narrator has underground him so well that the old man may exist only in the narrator's mind. Consequently the beating heart can be interpreted as the sound of the narrator's own heartbeat.
From what was discussed it can be done that the element of duplicate in some short stories by Poe is significantly used, but in rather different forms. The similarity is that the element of duplicate in all its forms is used to transport the act of self-estrangement of the characters that Finally leads them to their self-destruction.
Works Cited:
Botting, F. (1996). Gothic. London: Rutledge
Botting, F.(2000). In Gothic Darkly: Heterotopia, History, Culture. In D. Punter (Ed.), A Companion to Gothic. Oxford: Blackwell. (pp.3-15)
Brennan, M.S. (1997), The Gothic Psyche: Disintegration and increase in Nineteenth-Century English Literature .Columbia: Camden House, Inc.
Fisher, B. F. (2002). Poe and the Gothic Tradition. In K. J. Hayes. (Ed.), The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. (pp.72-92)
Massé, M.A. Psychoanalysis and the Gothic. . In D. Punter (Ed.), A Companion to Gothic Oxford: Blackwell. (Pp.229-242)
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Lakeway Texas Subdivision facts - The keep at Lakeway
Remax New Braunfels Tx - Lakeway Texas Subdivision facts - The keep at Lakeway
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Most often when you think of preserves, you don't think of a place to live. You think of a place to visit - an area blanketed in gorgeous nature that person has plan to save from man's development. While that is ordinarily a true assumption, it is not so in the case of the support at Lakeway. This is a improvement that is surrounded by nature but open to man, open to you who are seeing for the exquisite home.
History
When Austin was developed, many were unsure of how it would progress. It lacked the reliance cities such as Dallas and Houston had and the history the more Eastern cities like Philadelphia and New York had. But Austin grew and continues to grow, outpacing nearly all other metropolises in the country. As such, the outlying areas are experiencing an interest few anticipated. Families are seeing to these regions for homes conveniently placed face of the city, and that is why places like support at Lakeway are built.
Economy
The people of support at Lakeway live in nature but work in the city. They commute to Austin where the prosperous science and technology industries offer them numerous opportunities for employment. If they are not members of those fields, they look to the universities and major corporations filling the city with business and growth. They find in the city what so many others are just now learning exists - increasing possibilities, employment and financial security. They rest easy knowing that the city they have chosen to border is one that will enable them to live conveniently for years to come.
Real Estate
You won't find low-quality homes in support at Lakeway. In fact, you'll be hard pressed to find one that isn't of the finest potential in building and amenities. Contractors have created houses that any house would feel privileged to live in. They are beautiful, majestic structures with modern conveniences. The surrounding nature adds to the value, making any price well worth it.
Attractions
Preserve at Lakeway is 100 acres of land surrounded by thousands of acres of beauty. In the heart of hill country, the area is home to wildlife and fabulous views. Balcones Canyon Conservation Land is moments away, and no matter which direction you turn in there is always something new and green to see. The area also has several country clubs - group and inexpressive - with golf courses, tennis courts and supplementary amenities, curious to people of all ages and interests. Around Austin adds to the appeal to as a city filled with fun things for families and individuals to do. And when you get past the fun, to the necessities of daily living, the impressive school district and plethora of available jobs makes support at Lakeway a natural choice.
Preserve at Lakeway is a gorgeous community. In fact, saying that is an understatement. It is a town that knows few equals and a natural gem in a country that is swiftly becoming more urban as it forgets the point and brilliance of the environment that surrounds it.
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Medusa or New Medusa - symbol or Allegory - A de Manian Reading of Medusa in John Barth's "Perseid"
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Medusa as the stamp of Cosmophilic Transcendentalism
Ken Dowden asserts that Greek mythology at first sight has plentifulness of monsters: things from the beginning of time or at least begotten by primeval earth for gods or heroes to defeat; awkward customers like the Hydra of Lerna (always sprouting new heads), the Nemean Lion (with Chobham skin) for Herakles; the Chimaira for Bellerophon, or centaurs or satyrs; and the plainly loathsome Gorgon Medousa for Perseus. In his opinion, monsters disproportionately attract the concentration of modern readers, who tend not to observation that in Greek mythology monsters have puny circulation, as manifested in their puny measure in any perfect book of Greek myths. Maybe the gods themselves sap something of the quiz, for the non-human and magical in myth - Greek myth is more affected by dungeon-masters than by dragons. But other factors contributed; the exceptional authority of Homer can be viewed as setting a particularly human and realistic tone for later Greek writers to follow. He allows puny room for the magical and monstrous (138).
Chief of the Gorgons and the mortal one, Medusa is the serpent-headed monster of Greek mythology whose hideous appearance turned men into stone. Originally a fair maiden, she was violated by Poseidon in a temple of the goddess Athene, who then punished her by transforming her into an ugly monster with snakes for hair. Perseus carried Medusa's still-lethal head along on his other heroic adventures, brandishing it against foes until finally returning the prize to Athene, who affixed it to her shield. The blood from her head also had magical powers, and was said to be the seed from which Pegasus sprang, as well as the origin of poisonous snakes in Africa. Joel Schmidt in Larousse Greek and Roman Mythology (1983) considers the Gorgons as one of the most horrendous beasts of Greek mythology.
The attraction and importance of monsters for Dowden is psychological. As they have never existed, their single construction is likely to reveal more about what is inside man than what is outside. In broad terms, they are the epitomes of the fears, loathings and worries. Then Dowden proceeds in describing various kinds of monsters from Titans to Giants and so on. For him, Caldwell, Bremmer, and a host of other critics, the she-monsters of Greek mythology can be interpreted variably as the fear of mother or incestuous, libidinal drives on the part of the heroes. Of policy this paper never intends to immerse in psychoanalysis of any kind. The main point is that how the grand record of black annotation (traditional criticism) has tried to minimalize mythology into a geometrically-structured work - in Barthes' sense of the word in disagreement to text - in order to appease the demands of modern human.
De Man's reading of Medusa not in terms of rhetoricity or tropes would culminate into the concept of symbol. De Man destabilizes the whole tradition of symbolic superiority over allegorical arbitrariness. Symbol's more labile semantic nature in comparison with allegory is probably due to its being used much more oftentimes and in more contexts. This greater frequency of use is probably due in turn to the confident associations that stamp as opposed to allegory has acquired over the last 200 years. stamp is able to carry the quasi-religious concept of the revelation of the Infinite in and through any finite thing because anything, linguistic or non-linguistic, could be a symbol.
In order to reveal the disagreement between allegory and symbol, it is underlying to compare them in terms of their classical definitions, and also historical genesis. Symbolon originally denoted bodily objects such as marks, tokens or tickets. These were accepted signs in which language had at most only a part to play. The primary sense of symbolon did not denote linguistic entities. stamp was extended from the non-linguistic to the linguistic sphere; Gadamer in Truth and method (1993) argues that it was this that allowed stamp to take on a much wider role than allegory at the end of the 18th century (73-81). Carlyle says, stamp is "some embodiment and revelation of the Infinite" (Carlyle 78). As a post-structuralist, de Man in "The Rhetoric of Temporality" elaborates upon the historical and structural differences of allegory and symbol. He believes that in the latter half of the eighteenth century, stamp tends to supplant other denominations for figural language, together with that of allegory. In German literature stamp was valorized over allegory because of its motion to infinity. It was thought about as a sign that referred to one specific meaning and thus exhausted its suggestive potentialities once it had been deciphered. "The stamp was founded upon an intimate unity between the image that came up before the senses and the supersensory totality that the image recommend sees" (Blindness, "The Rhetoric of Temporality" 189). He mentions Coleridge for whom "symbol is the goods of the organic growth of form; in the world of symbol, life and form are identical" (191). The rhetorical structure of stamp is synecdoche, for the stamp is always a part of the totality that it presents.
Because of this part and whole relation in symbol, it postulates the possibility of an identity or identification. Hence, stamp is characterized by "the translucence of the special in the individual, or of the normal in the special, or of the universal in the general; above all by the translucence of the eternal through and in the temporal" (192).
The more opportunistic and less structured features of stamp than other figures, its claimed organic unity of sign and meaning and its articulation of personel scenes and entities make it a proportionate medium for analyzing the mythological Medusa, essentially in disagreement with Barthian New Medusa. Not only Medusa but all the Greek monsters have long been thought about as the symbols of human fright, mother Nature's cruelty, the unconscious zones of human mind and so on. Barth himself has to embark on such notions in order to foreground his own Medusa. Medusa symbolically presents Barth's cosmophilic transcendentalism; the possibility of attaining the creativity despite the maladies and monsters. It embodies Perseus' attempts to become at least the author of his heroic tale, even when he knows that there are other authors claiming the authorship of his text, such as Calyxa or the anonymous writer of the heroic pattern. By narrating how he slew Medusa to Calyxa and the readers, he can affirm that in the midst of many impotencies, especially sexual ones, he has at least accomplished one, universally-acknowledged heroic venture. Such a loophole helps him to survive the tyranny of cosmopsis in which now he is ensnared. Now after twenty years, telling his tale of Medusa symbolizes his artistic along with heroic survival.
Slaying Medusa becomes the stamp of gaining an epistemological knowledge; the acknowledge to the quiz, of whether the hero can know anyone to be unquestionably true if there is no greatest truth as standard. Despite the nonexistence of greatest truth, Perseus at least takes the risk and engenders his own version of truth with regard to his ontogeny. Thus, it can be accomplished that Medusa marks an important phase in the metamorphosis of Perseus into a hero. Medusa as a stamp expands itself beyond its mythic context to a universal sign. It can gift any obstacle on any individual's ontogeny. Hence, the symbolic reading of any sign, even in a meta-meta-fiction like Chimera may not differ from the nineteenth century attitude of romantics towards symbol's universality and infinity. A stamp can always remain a symbol.
Medusa as an Allegory
Considering Medusa as a stamp is not a de Manian reading of it. It is in line with any exponential arrival towards texts in order to illicit a unified, unambiguous meaning from language. However, for de Man, the supremacy of symbol, "conceived as an expression of unity between the representative and the semantic function of language, becomes a commonplace that underlies literary taste, literary annotation and literary history" (189). The synthesis that is ascribed to Medusa and its meaning not only in "Perseid" but in Greek mythology is transvalued in de Manian reading. He sharply contradicts Gadamer who asserts: "Symbol and allegory are opposed as art is opposed to non-art, in that the previous seems endlessly suggestive in the indefiniteness of its meaning, whereas the latter, as soon as its meaning is reached, has run its full course" (Gadamer 67). Allegory has long been thought about as arbitrary and mechanical. In "Allegory and Symbol; a underlying Opposition?" (2005) Peter Crisp delineates two major senses or trends of allegory that have occurred in the rhetorical tradition, though they are never sharply demarcated. The first reflects the derivational morphology of aged Greek allegoria, or "other speaking", which plainly denotes figurative language in general, meaning something other than what one says. The second is significantly narrower and denotes anyone from sentential metaphor opposed to nominal or predicative through extended metaphor up to an whole record poem such as The Faerie Queene. Allegory in all its forms was thus understood as part of the normal continuum of metaphorical and figurative language. A major consequence of this is that allegory ordinarily involves continuous narrative, since this is needed to structure its text world. Thus, the primary sense of allegoria by disagreement to stamp was purely linguistic in denotation, and extended from the linguistic to the non-linguistic, for paintings as well as poems came to be described as allegories.
The dramatic opposition between allegory and stamp that emerged at the end of the 18th century was related with an equally dramatic narrowing of the sense of allegory. The widest sense of allegory as figurative language in normal was lost altogether and the narrower sense was narrowed still further. Only works in which metaphorical prolongation was pushed to the greatest of eliminating all overt references, and direct characterization of the metaphorical target domain now noteworthy as allegories. That is, only extended narratives such as The Faerie Queene or The Pilgrim's progress or, less prototypically, shorter works such as George Herbert's "The Pilgrimage" or Henry Vaughan's "Regeneration", now counted as allegories (Crisp, "Allegory, Blending and potential Worlds" 115-21).
De Man retains the allegory's supposed arbitrariness. For him, the external relations of its signifier and signified, is its supreme virtue. He takes the romantic opposition of allegory and stamp while transvaluing its values, making allegory confident and stamp negative. The concept of stamp devalued by de Man is clearly that of the romantic tradition. As a post-structuralist he sees its claimed organic unity of sign and meaning as disguising the arbitrariness and discontinuity of all significations and being.
Allegory designates primarily a length in relation to its own origin, and renouncing the nostalgia and the desire to coincide, it establishes its language in the void of this temporal difference. In so doing, it prevents the self from an illusory identification with the non-self. De Man confirms that "allegory exists entirely within an ideal time that is never here and now but always a past or an endless future. It appears as a successive mode capable of engendering duration as the illusion of a continuity that it knows to be illusionary" (226).
Thus it can be accomplished that his relation to allegory is quite complicated. He accepts its sharp opposition to stamp but, apart from the supposed arbitrariness of its sign/meaning relation, there is puny in his catalogue relating to any accepted sense of allegory. As Crisp puts forward, it seems enough for him to classify a text as allegorical if it undermines, or he judges it to undermine, the organic unity related with symbol. For de Man such an undermining "acceptance of time denies unity to human experience" ("The Rhetoric of Temporality" 178). De Man himself recognizes that the sense he gives allegory is very idiosyncratic. He speaks of "our sense of allegory".
Hence, allegory, in the maximally narrow sense dominant in literary discourse over the last 200 years, becomes a form of metaphor extended to the point where the linguistic focus/frame disagreement is eliminated and the conceptual source domain becomes a fictional, text world (Crisp, "Allegory: Conceptual Metaphor in History" 5-19). The relationship between source and target domain is thus very motivated in two ways. First, the source domain is typically more experientially basic than the target domain. Second, the two domains must share enough conceptual structure to allow one to be mapped onto another. Not just any domain can be mapped onto any domain (Lakoff 39-74). The relationship between conceptual domains in metaphor is thus very motivated and non-arbitrary. If allegory is a form of metaphor then it too is very motivated and non-arbitrary. Those who have believed that allegoric meanings are fixed and specific have mistaken the specification of such beginning points for the whole process of realizing a metaphorical mapping.
Now applying such an elaborate, allegorical mode to "Perseid" would result in the juxtaposition between the symbolic, simultaneous Medusa and allegoric, diachronic New Medusa. The length between sign and its meaning engenders a discontinuity in the sign that can metaphorically be outlined as literal and figural. The temporal void in allegory never allows the reconciliation of the literal with the figural. By slaying Medusa, following the heroic pattern, winning the heart of Andromeda and being reincarnated in heaven, Perseus has symbolically mastered a one to one, synchronic correspondence between heroism and its signification. The image and its substance, Perseus and mythic essence are incorporated without spatiality or temporality. This is the underlying premise on which Barth constructs his own mode in which the de Manian disparity between mythological sign and its signification is attained. After narrating his heroic adventures of slaying Medusa, Perseus commences the new allegoric Medusa by recounting his marital problems with Andromeda, their decision of journeying to Joppa in order to visit his in-laws, their row on the ship to Joppa and Andromeda's throwing away of Perseus' fan letters in the sea and so on. Athene's solution to all the problems is rekilling Medusa. She claims that she has reincarnated her into New Medusa: "She reckoned she punished the girl nearly enough, so she rejoined her head to her body, revived her, and restored her primary appearance" (92), but with a difference; "nowadays she turns stone to flesh instead of vice-versa: makes old folks spry again" (91). Initially, Perseus rejects the offer of reslaying her: "If there was a new Medusa, let a new Perseus be resickled, -shielded, -sandaled, and the rest, to reglorifiy himself by re-beheading her. It wasn't mother Danae wanted rescuing but Danae's son" (89). But by being reassured that Medusa is no more petrifying he accepts. Now having entered Barth's modern-family-mythology, the reader is exposed to a new Barthian pattern; "I was a new man; only regard me with shield and sickle, it was a decade's petrifaction in myself I'd cut off first, then Medusa's head to melt away another, then confront Andromeda with a best Perseus than had first unscarped her"(93).
The emergence of New Medusa with de-petrified features of the old Medusa is accompanied by another ironic de-Gorgonization; "New Medusa's probationary stipulations allowed for one special circumstance in which petrifaction might occur as of old, and in which not only its contrary but a kind of immortality might be accomplished" (92). Now Medusa has turned into an allegory, whose final signification is deferred. She is a sign that is conditioned by the previous and preceding signs; by the past, petrifying destroyer, and the future, nurturing lover of Perseus, with whom he is going to rest in his immortality. The temporality of New Medusa is reinforced in the text within various relapses of time, while which Medusa finds her final image as a redeemer not a femme fatale. After being ironically rescued by her and spending an amorous night with her, while she has covered her face (with the same sexual impotencies), Perseus notices that despite of his killing her "she still loved [him] and had lived, while her death, for those moments when [he] raised her by the hair and she withered [his] enemies with a glance" (110). Now in love with her he wants to know Athene's condition in order to be able to "see the face that spoke in such a gentle voice" (111). Perseus says,
If the man who uncowled her, and on whom she laid her one-shot grace, were her true lover, the two of them would turn ageless as the stars and be together forever. But since she hadn't known herself a Gorgon before, and couldn't view herself now, for all she or I could know she might be Gorgon still, and Athene's resumption a nasty trick. In short, whoever unveiled and kissed her must do so open-eyed, prepared to risk petrifaction forever in a Gorgon's hug. (110)
Barth again embarks on playing tricks and impostures on his readers. Is New Medusa petrifying or juvenating? Is she the old Medusa in disguise? Or is Barth just trying to build up the novella to its climax by maintaining suspense? As de Man asserts allegory instills a sense of continuity, otherwise it is encumbered with primary discontinuity of meaning. Henceforth, New Medusa's allegoric mode impedes the reader from coming up with a single interpretation. The repetitive ability of the myth of Medusa, that is, occurring in various contexts but each time with a new process of dissemination marks the unreadability of the allegory. Trapped in the aporia of stone and star, of petrifier and immortal lover of Perseus, New Medusa is the allegory of Barthian mythology; manipulated, unravished, uncertain, waiting to be written and also trying to write. As manifested in the final dialogue of the novella, Perseus and New Medusa are enjoying their newly-gained eternity, while improvement their story. Now as arch-critic of Perseus' tale, she takes on not a pure mythic role, but shifts into another figural level of being an allegory. Oscillating between discrepant signs, she can no more be reduced to a symbol. She has become an extended metaphor whose vehicle is quite polysemic.
The text-length tropological ability of Medusa in "Perseid" preserves the two-level ontological structure of metaphor; literal and figural. However, these two levels remain implicit throughout the text, in other words, the disagreement between Medusa the petrifier and New Medusa the reviver is blurry, till the end of the novella. Even the ending of the text never tries to dissolve the riddle due to the fact that Perseus in their eternity has not yet met New Medusa unveiled. So the text's lack of closure makes it impossible to resolve if Medusa is de-Gorgonized or not. Agreeing to McHale, "in allegory the literal frame of reference is missing" (McHale 141). In this respect, "Perseid" is seething with all figural aspects of Medusa; her love of Perseus, her innocence, turning into New Medusa and finally becoming the critic of Perseus' (or even Barth's) tale. However, her definite symbolic role is forfeited in the text, that is to say, even Perseus' first accounts of slaying her to Calyxa in heaven, turns out be part of a hypertrope; he is unquestionably narrating the process of slaying Medusa to Medusa. As clarified at the end of the novella, the whole "Perseid" has been a tale narrated by Perseus to New Medusa in their eternity. Thus, Medusa exerts her allegorical role throughout the text as an extended metaphor that is immersed in its own figurality.
In conclusion, it can be said that the disagreement between stamp and allegory is not de Man's venture. Postmodernist fiction has long been obsessed with returning to allegorical mode of literature as a "medieval, suprarealist, sacralizing power" (Nash 99). "Perseid" embodies mythic Medusa as an allegory of textual unpossessibility. It can be thought about as the allegory of an allegory, in other words, the allegory of unreadability of any sign or any text. Here, it should be pertained that allegory in de Manian sense of the word can never be dovetailed into a term the same way as symbol. It is potential to say that a red rose is the stamp of love, but it is not potential to sell out Medusa, for example, to an allegory of fatal woman, or an allegory of ideal woman. The term allegory encompasses all the contradicting attributes of a sign. Thus, Medusa in its allegoric mode substantiates her own unreadability along with the novella's.
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