Send Fredo off to do this, send Fredo off to do that

Fredo is a generic domain-independent broker that creates valueadded information taking into account the preferences specified by its clients

Tolkien\u27s Unnamed Deity Orchestrating the Lord of the Rings

The epic world created by J.R.R. Tolkien in the Lord of the Rings trilogy is one in which secular and religious elements are intertwined and the relationship between the two is intentionally kept vague. Within this created world, known as Middle Earth, good and evil are apparent, but the standard by which they are determined remains undefined. The free creatures living in Tolkien\u27s world appear to have an intuitive ability to discern between good and evil, and each being generally exercises its free will in pursuit of one or the other though some personalities do combine the qualities. This innate understanding implies a moral order at the instinctive level, characteristic of all living things. Aragorn, heir of Isildur, affirms this idea in his reply to Eomer, Third Marshall of the Riddermark, Good and ill have not changed since yesteryear; nor are they one thing among Elves and Dwarves and another among Men. It is man\u27s part to discern them, as much in the Golden Wood as in his own house (TT 50). This moral standard common to all living creatures of Middle Earth necessarily implies a motivating force or creator capable of instilling such an instinct into that which is created. Tolkien remains vague throughout the trilogy in defining this powerful force, never committing himself to any traditional concept of deity and avoiding any reference to a being of any kind, but the undeniable force exists and exerts its power on behalf of good characters struggling against those which do evil. The author chooses to define this unnamed force through its modes of action, rather than by a description of its essence. The force does not appear to wield a visible and independent power, but works through the story\u27s characters, using their moral decisions to achieve the desired outcome for good. Aid and guidance are given to good characters in subtle and covert ways which seek to control the story\u27s overall action, while avoiding interference with any creature\u27s freedom of choice. I propose that by a study of the ways in which this unnamed moral force controls the story\u27s action, the reader will more clearly understand that the ultimate victory over Sauron has been carefully contrived by a will more powerful than that of any of the story\u27s characters. This powerful will or force subtly intervenes in the affairs of Middle Earth through events which appear to be chance occurrences or coincidence, instinctive impulses placed within all creatures which may influence judgment, and beneficial effects which result from evil deeds. By one of these three modes of guidance, the story\u27s action is carefully directed toward the defeat of the evil embodied by Sauron. Using these methods of aid or direction, the reigning moral power seeks to direct Middle Earth\u27s creatures in how they may salvage their world from an evil influence beyond their ability to overcome unaided. Success in this battle between the forces of good and evil rests in great part on each individual\u27s responsibility to make right choices, but Tolkien\u27s unnamed force is in control of all things and working toward a goal fully known only to itself

Tolkien\u27s Unnamed Deity Orchestrating the Lord of the Rings

The epic world created by J.R.R. Tolkien in the Lord of the Rings trilogy is one in which secular and religious elements are intertwined and the relationship between the two is intentionally kept vague. Within this created world, known as Middle Earth, good and evil are apparent, but the standard by which they are determined remains undefined. The free creatures living in Tolkien\u27s world appear to have an intuitive ability to discern between good and evil, and each being generally exercises its free will in pursuit of one or the other though some personalities do combine the qualities. This innate understanding implies a moral order at the instinctive level, characteristic of all living things. Aragorn, heir of Isildur, affirms this idea in his reply to Eomer, Third Marshall of the Riddermark, Good and ill have not changed since yesteryear; nor are they one thing among Elves and Dwarves and another among Men. It is man\u27s part to discern them, as much in the Golden Wood as in his own house (TT 50). This moral standard common to all living creatures of Middle Earth necessarily implies a motivating force or creator capable of instilling such an instinct into that which is created. Tolkien remains vague throughout the trilogy in defining this powerful force, never committing himself to any traditional concept of deity and avoiding any reference to a being of any kind, but the undeniable force exists and exerts its power on behalf of good characters struggling against those which do evil. The author chooses to define this unnamed force through its modes of action, rather than by a description of its essence. The force does not appear to wield a visible and independent power, but works through the story\u27s characters, using their moral decisions to achieve the desired outcome for good. Aid and guidance are given to good characters in subtle and covert ways which seek to control the story\u27s overall action, while avoiding interference with any creature\u27s freedom of choice. I propose that by a study of the ways in which this unnamed moral force controls the story\u27s action, the reader will more clearly understand that the ultimate victory over Sauron has been carefully contrived by a will more powerful than that of any of the story\u27s characters. This powerful will or force subtly intervenes in the affairs of Middle Earth through events which appear to be chance occurrences or coincidence, instinctive impulses placed within all creatures which may influence judgment, and beneficial effects which result from evil deeds. By one of these three modes of guidance, the story\u27s action is carefully directed toward the defeat of the evil embodied by Sauron. Using these methods of aid or direction, the reigning moral power seeks to direct Middle Earth\u27s creatures in how they may salvage their world from an evil influence beyond their ability to overcome unaided. Success in this battle between the forces of good and evil rests in great part on each individual\u27s responsibility to make right choices, but Tolkien\u27s unnamed force is in control of all things and working toward a goal fully known only to itself

POLITICAL BEHAVIOR AND MINTZBERG’S POLITICAL GAMES: EXAMPLE OF ORGANIZED CRIMINAL INSTITUTIONS WITH GODFATHER FILM ANALYSIS

Social facts cannot be observed directly as in the case of the facts of natural sciences. At this point, art enables understanding and interpretation of human relations through cinema, theater and literature. On the other hand, the creators of works of art reflect social relations through their own perspectives and, in this respect, subjectivity is in question; however this is acceptable to a certain extent as, after all, they are part of social facts as a member of the society and, at least, they have the potential of reflecting social facts. From this point of view, in this study, the political behaviors and political games in organizations, as stated by Mintzberg (1985), will be described by exemplifying, through analysis of a film

POLITICAL BEHAVIOR AND MINTZBERG’S POLITICAL GAMES: EXAMPLE OF ORGANIZED CRIMINAL INSTITUTIONS WITH GODFATHER FILM ANALYSIS

Social facts cannot be observed directly as in the case of the facts of natural sciences. At this point, art enables understanding and interpretation of human relations through cinema, theater and literature. On the other hand, the creators of works of art reflect social relations through their own perspectives and, in this respect, subjectivity is in question; however this is acceptable to a certain extent as, after all, they are part of social facts as a member of the society and, at least, they have the potential of reflecting social facts. From this point of view, in this study, the political behaviors and political games in organizations, as stated by Mintzberg (1985), will be described by exemplifying, through analysis of a film

Caesars and Corleones: Augustan Rome and The Godfather

What do The Godfather and the Roman Empire have in common? This thesis will compare the Augustan period of the Roman Empire and Francis Ford Coppola\u27s The Godfather. Themes such as power, religion, family, and morality play a large role in The Godfather as well as in the life of Augustus. Even the personal character of Augustus seems to parallel the character of Don Vito Corleone. First, a historical background is provided about Augustus, the empire he ran, and how he ran it. I examine excerpts from famous authors of antiquity such as Suetonius, Cassius Dio, and Horace. I also examine the Res Gestae, the accomplishments of Augustus, as well as the Ara Pacis. These texts and monuments depict Augustus as a patriotic, paternal, and paradoxical figure. These characteristics seem to apply to the character of Vito as well. The historical arc of the life of Augustus, with the results of the transfer from the pater patriae to later emperors, will also be described as paralleling the history of the Corleone family\u27s many transitions

September 16, 2016

https://egrove.olemiss.edu/thedmonline/2009/thumbnail.jp

Mustang Daily, November 6, 1996

Student newspaper of California Polytechnic State University, San Luis Obispo, CA.https://digitalcommons.calpoly.edu/studentnewspaper/6065/thumbnail.jp

My Way: A Musical Tribute to Frank Sinatra

Program for the 2001 production of My Way: A Musical Tribute to Frank Sinatrahttps://digitalcommons.daemen.edu/musicalfare_programs/1079/thumbnail.jp