The Origins and Specificity of Parasites free essay sample

This paper discusses the origins of life and the role that parasites play in its continuity. This paper examines the origins of parasites, their relationship to their host and how they have evolved in tandem with many other organisms. The paper seeks to answer several questions including why parasites live where they do and how the origins of evolution affect different parasites, specifically RNA and what role protozoans play in the life of parasites. The paper also discusses the process of Co-evolution and the effect that a parasites long-term residence has on the body of different species, including humans. However, it is once an organism has taken up residence inside another organism, that a second and crucial process comes into play. This is the process of Co-evolution. Co-evolution is based relatively simply on the fact that Evolution is a non-stop process. All species are continually changing and developing. Genetic mutations, errors in the copying of DNA and RNA, lead to minute, or even at times, dramatic changes that might be either beneficial or maladaptive. We will write a custom essay sample on The Origins and Specificity of Parasites or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In the normal course of things the maladaptive forms will die out, while the successful adaptations will survive as a result of those organisms that possess them living on to reproduce. The same process of evolution is at work both in host and parasite. As the host itself changes, the environment inside it changes as well. Subtle differences in conditions might mean death a microorganism living inside the body of another animal.

What To Write

What To WriteIf you have a few minutes to spare, take the time to learn about a sample article for informational essay. It is an easy way to prepare yourself for your next essay on an aspect of life. You can easily learn about what to write, where to write it, and how to revise it so that it sounds exactly like what you want it to sound like. It is a great tool to help you as you try to write a better essay.Writing an essay on anything is not something that everyone enjoys doing. You need to make sure that you know exactly what topic you are going to be writing about. This will help make your life easier and allow you to write a better essay. Start by looking at what you know.Knowing some popular topics will give you a good foundation to start from. When you know which topics you like, you can start to search for articles to use. Try to find ones that have the same topic as yours. When you look for samples, read the entire piece and see if there is anything that does not make sense.A fter you have used a few articles to research your topic, look at them again and try to rewrite them for clarity. You want to make sure that you take out anything that does not make sense to you or is irrelevant to your essay. Once you have done this, your essay should start to come together.The next thing you need to do is to make sure that you learn how to proofread it before you send it in. When you look at it, you want to make sure that you understand all of the details in it. Make sure that you read it over again so that you know what to change so that it sounds the way you want it to sound.There are many different themes that you can use. Find one that seems to make sense to you and then start writing. Once you finish, revise it for clarity. It does not matter if you take a little bit longer than usual, because when you are done with your first draft, you will realize that you were able to get the ideas out of your head and into writing.Make sure that you use samples that are easier to use on your own. You do not want to have to redo things all over again because they are too difficult. Take some time to look at the topics that you have chosen and see if they are easy to use or if they require more work.Remember that it is not hard work to get ideas out of your head and into writing. If you take the time to make sure that you have the right information and that you make your writing perfect, you will find that your essay will turn out to be great. You do not have to be the best writer in the world to write a great essay; all you need is to know what topics to research and then you can get to work.

The Great Gatzby essays

The Great Gatzby essays The Great Gatsby is a story, told through an observer, about a mans trials and tribulations who tries to regain what he had in the past. The whole focus of the story is on Gatsbys dream, his desire to rekindle the flames of a previous fire. Daisy, the fire, is along for the ride. A ride that contains many twists and turns that only lead to corruption. Nick, the narrator of the story, has just moved from the Midwest to New York. Knowing that Nick is the narrator, it is important to realize that some of the things he says or feels could be swayed by his own emotions. Also living in New York and near to Nicks house is the Buchanans. Tom Buchanan is an acquaintance from Nicks days in college and Daisy is Nicks cousin. Nicks move is going very smoothly and his cousin is getting him used to the high-class lifestyle. Being from a middle class society Nick, at times, enjoys the elegant parties that are thrown almost every day. At Daisys house is where Nick is informed about Toms affair. Jordan, Daisys friend, catches Nick up on the latest gossip and hopes Nick would be able to help the situation. Jordan also asks about Nicks neighbor, Gatsby, whom he has not yet met but decides to later on. One afternoon Tom invites Nick out for an evening in the city. This is when Nick realizes the severity and the careless nature of the affair. Along the way they pick up Myrtle, Toms second lover, and head off to another party. At the party we find out that Tom and Daisys relationship is not going to last. Nick is finally introduced to his neighbor in chapter 3. Gatsbys driver invited Nick to a party at Gatsbys house. There were many people in attendance and few knew the host. Everyone was gossiping about the mysterious Gatsby and Nick took it upon himself to find the truth. By wondering through the party he meets Gatsby a ...

Histology of the Liver Essay Example | Topics and Well Written Essays - 1000 words - 1

Histology of the Liver - Essay Example Being one of the largest glands in the body, the liver has a complex and intricate histology and any disruption of structure can lead to derangements in function. This report discusses the process of two different staining techniques used to visualize both normal and abnormal liver histology and discusses the findings obtained in light of knowledge of liver physiology and pathology. In order to examine the histology of the liver and to elucidate whether the patient was suffering from any liver pathology, in particular hemochromatosis, three sections of the liver obtained via biopsy, labeled A, B and C had been provided to be tested. These sections had been cut from paraffin wax embedded tissue block. Amongst these, section B had been provided as a control section to test the proper functioning of the stains being used. Prior to the commencement of staining, all three sections were de-waxed in order to remove the paraffin wax from the sections and to ensure the proper hydration of the provided tissues. This was achieved via mounting all three slides into a dry staining rack and then placing the slides in to different solutions placed in six different tanks consecutively for 2 minutes each. Amongst these 6 tanks, the first three contained Xylene, following which the slides had to be placed in tanks containing Ethanol, 100% industrial methylated spirits (IMS) and 70 % IMS, in the aforementioned order. The slides were then rinsed with tap water and distilled water, respectively. The slides were then left in distilled water till the time they were stained with either H and E or Prussion Blue. While mounting the slides on the staining rack, steps were taken in order to ensure that the rack was dry as a wet rack would have caused water being deposited in Xylene. The next step was to stain the slides with H and E. To achieve this, the slide marked C was placed in haematoxylin solution for 5 minutes after which it was rinsed with distilled water. It was then dipped in

Why is privatizing social security in the USA a bad thing Essay

Why is privatizing social security in the USA a bad thing - Essay Example However, in many cases governors ignore the cultural and social characteristics of local population and focus on the economic aspects of each policy (Ritzer and Atalay 2010). This means that the needs and the cultural background of society are often ignored if specific economic benefits are set as priorities by the government of the country involved. Such problem has appeared in regard to the social security in USA. The privatization of social security in the above country has been highly promoted using the following argument: that such initiative would result to the increase of the effectiveness of the social security framework, an argument though that it is not verified in practice, as analyzed further below. Different approaches have been used in order to explain the inappropriateness of the privatization of social security in US. According to Ritzer and Atalay, the privatization of social security in US has been supported by various organizations and individuals but the completio n of the relevant task has been proved quite challenging because it ‘is politically controversial’ (Ritzer and Atalay 130). This means that most politicians in USA cannot agree whether the privatization of social security in US would benefit citizens or not (Ritzer and Atalay 130). The extensive oppositions in regard to the appropriateness of the particular plan lead to concerns in regard to the feasibility of the plan and its actual effects on people across US (Ritzer and Atalay 130). ... For example, the only regions where the social security system is fully privatized are the following two: ‘the countries of Latin America and the former Soviet Union countries’ (Ritzer and Atalay 130). Before suggesting the implementation of such plan in US, it would be necessary to check the potentials of the local economic and social framework whether it could support such plan or not. From a similar point of view, Binstock and George (2010) explain that the privatization of social security in US is quite difficult to be fully completed, especially since the terms under which the ‘Funded Defined Contribution (FDC) Accounts’ (Binstock and George 284) are not quite clear, a fact that would set in risk the relevant funds. These accounts have been used as a means for promoting the privatization of social security in US but they have been related to the following problems: a) ‘the swift to private accounts in USA’ (Binstock and George 291) has been quite rapid, with no adequate time for organizing appropriately the transition to a new social security system (Binstock and George 284). In this way, there can be no guarantee that the new security system in US will be effective and secure (Binstock and George 284); b) the use of Private Accounts as tools for promoting the privatization of social security is not common (Binstock and George 284). Concerns have been developed whether such Accounts would be effective for the social security of US, even if the relevant efforts would involve in the partial privatization of the country’s social security system (Binstock and George 284); c) the privatization of a social security system leads, necessarily, to ‘the transfer of significant powers

Culture Theory and Popular Culture Essay Example for Free

Culture Theory and Popular Culture Essay The study of culture has, over the last few years, been quite dramatically transformed as questions of modernity and post-modernity have replaced the more familiar concepts of ideology and hegemony which, from the mid-1970s until the mid-1980s, anchored cultural analysis firmly within the neo-Marxist field mapped out by Althusser and Gramsci. Modernity and post-modernity have also moved far beyond the academic fields of media or cultural studies. Hardly one branch of the arts, humanities or social sciences has remained untouched by the debates which have accompanied their presence. They have also found their way into the quality press and on to TV, and of course they have entered the art school studios informing and giving shape to the way in which art practitioners including architects, painters and film-makers define and execute their work. Good or bad, to be welcomed or reviled, these terms have corresponded to some sea-change in the way in which cultural intellectuals and practitioners experience and seek to understand the world in the late 1980s and into the 1990s. Storey claimed that â€Å"postmodernism has disturbed many of the old certainties surrounding questions of cultural value. † This work will consider the issues of postmodernism versus modernism mostly from the perspective of the critics of postmodernism with reference to ‘good’ and ‘bad’ taste. Post-modern cultural movements first emerged in the 1960s in painting, architecture, and literary criticism. Pop art challenged modernist art by experimenting with new cultural forms and contents that embraced everyday life, radical eclecticism, subcultures, mass media, and consumerism. Sociologist Daniel Bell was one of the first to take up the challenge of postmodernism. In The Cultural Contradictions of Capitalism (1976) he identified a moral crisis in Western society bound up with the decline of Puritan bourgeois culture and the ascendence of a post-modern culture that he described in terms of an aesthetic relativism and a hedonistic individualism. Yet the most formidable critic of postmodernism and defender of modernity has been German philosopher and heir to the Frankfurt School tradition of critical theory — Jurgen Habermas. There are two problems with postmodernism. The first problem comes into focus around the meaning of the term fragmentation. This is a word which, through over-usage in recent cultural debates, has become shorn of meaning. Post-modernity has been associated by Fredric Jameson (1984) with the emergence of a broken, fractured shadow of a man. The tinny shallowness of mass culture is, he argues, directly reflected in the schizophrenic subject of contemporary mass consciousness. Against Jameson, Stuart Hall (1981) has recently said that it is just this decentring of consciousness which allows him, as a black person, to emerge, divided, yes, but now fully foregrounded on the post-modern stage. So one of the fascinating things about this discussion is to find myself centred at last. Now that, in the postmodern age, you all feel so dispersed I become centred. What Ive thought of as dispersed and fragmented comes, paradoxically, to be the representative modern condition! This is coming home with a vengeance (34). These are, then, two perspectives on the problem of postmodern fragmentation. There is Jameson, who looks back nostalgically to the notion of unity or totality and who sees in this a kind of prerequisite for radical politics, a goal to be striven for. And there is Hall, who sees in fragmentation something more reflective of the ongoing and historical condition of subaltern groups. Jamesons unified man could be taken to be a preFreudian, Enlightenment subject, and thus be discredited by those who have paid attention to Lacans notion of the fragmented subject. But the endorsement of post-modern fragmentation is equally not without its own problems. Have we become more fragmented than before? Can we specifically name a time and a place for the moment of fragmentation? Is fragmentation the other of humanity? Or is the representation of fragmentation coincidental with political empowerment and liberation? Christopher Norris (1990) has argued that post-modernity (and postmodern fragmentation) stands at the end of the long line of intellectual inquiry which starts with Saussure, works its way through post-structuralism and Lacanian psychoanalysis and ends with Baudrillard. In Norriss terms fragmentation is to be understood as marking an absolute and irreparable break with the unified subject, a break which is now writ large in culture. Present-day fragmented subjectivity is captured and expressed in post-modern cultural forms, a kind of superficial pick-and-mix of styles. According to Jameson, however, unfragmented subjectivity, by contrast, produced great works of uncluttered heroic modernism. There is a degree of slippage in the connections being made here. The problem lies, at least partly, in the imprecise use of the word fragmentation. There is a vacillation between the high psychoanalytical use of Lacan and a much looser notion, one which seems to sum up unsatisfactory aspects of contemporary cultural experience. Modernists, however, also felt confused and fragmented. Fragmentation, as a kind of structure of feeling, is by no means the sole property of those living under the shadow of the post-modern condition. Bewilderment, anxiety, panic: such expressions can be attributed to any historical moment as it is transposed into cultural and artistic expression over the last a hundred and fifty years. The category of fragmentation seems to have become either too technical to be of general use (i. e. in Lacans work) or too vague to mean anything more than torn apart. The second question which might be asked of neo-Marxist critics of postmodernity, concerns determination, and the return to a form of economic reductionism in cultural theory. Fredric Jameson argues that postmodernism is the cultural logic of capital, but his argument, as Paul Hirst writing about trends in both New Times and post-modern writing, has suggested, slips from a rigid causal determinism into casual metaphor (45). Jameson, going back to Mandels Late Capitalism, has argued that the kinds of cultural phenomena which might be described as post-modern form part of the logic of advanced or late capitalism. This does away, at a sweep, with the difficult issue of explaining the precise nature of the social and ideological relationships which mediate between the economy and the sphere of culture and it simultaneously restores a rather old-fashioned notion of determination to that place it had occupied prior to Althussers relative autonomy and his idea of determination in the last instance (67). Quoting Lyotard, Harvey (1989) takes up the notion of the temporary contract as the hallmark of post-modern social relations. What he sees prevailing in production, in the guise of new forms of work, he also sees prevailing in emotional life and in culture, in the temporary contract of love and sexuality. Like Jameson he decries this state and looks forward to something more robust and more reliable, something from which a less fractured sense of self and community might emerge. He views postmodern culture disparagingly, as aesthetic rather than ethical, reflecting an avoidance of politics rather than a rising to the challenge of a politics posed by new or changing conditions of production. Despite their sweeping rejection of post-modern writing, both Jameson and Harvey take advantage of the conceptual and methodological breadth found in these theories to circumvent (or short-circuit) the key problems which have arisen in cultural studies in the attempt to specify and under-stand the social relations which connect culture to the conditions of its production. Their conceptual leap into a critique of postmodernism allows these writers to avoid confronting more directly the place of Marxism in cultural studies from the late 1980s into the 1990s, a moment at which Marxism cannot be seen in terms other than those of eclipse or decline. Postmodernism exists, therefore, as something of a convenient bete noire. It allows for the evasion of the logic of cultural studies, if we take that logic to be the problematizing of the relations between culture and the economy and between culture and politics, in an age where the field of culture appears to be increasingly expansive and where both politics and economics might even be seen, at one level, as being conducted in and through culture. Structuralism has replaced old orthodoxies with new ones. This is apparent in its rereading of texts highly placed within an already existing literary or aesthetic hierarchy. Elsewhere it constructs a new hierarchy, with Hollywood classics at the top, followed by selected advertising images, and girls and womens magazines rounding it off. Other forms of representation, particularly music and dance, are missing altogether. Andreas Huyssen in his 1984 introduction to postmodernism draws attention to this high structuralist preference for the works of high modernism, especially the writing of James Joyce or Mallarme. There is no doubt that centre stage in critical theory is held by the classical modernists: Flaubert†¦in Barthes†¦Mallarme and Artaud in Derrida, Magritte†¦ in Foucault†¦Joyce and Artaud in Kristeva†¦and so on ad infinitum (Huyssen, 1984:39). He argues that this reproduces unhelpfully the old distinction between the high arts and the low, less serious, popular arts. He goes on to comment: Pop in the broadest sense was the context in which a notion of the post-modern first took shape†¦and the most significant trends within postmodernism have challenged modernisms relentless hostility to mass culture. High theory was simply not equipped to deal with multilayered pop. Nor did it ever show much enthusiasm about this set of forms, perhaps because pop has never signified within one discrete discourse, but instead combines images with performance, music with film or video, and pin-ups with the magazine form itself’ (Huyssen, 1984:16). In recent article, where Hebdige (1988) engages directly with the question of postmodernism, he disavows the playful elements in Subculture†¦and, more manifestly, in the new fashion and style magazines. In contrast with what he sees now as an excess of style, a celebration of artifice and a strong cultural preference for pastiche, Hebdige seeks out the reassuringly real. He suggests that the slick joky tone of postmodernism, especially that found on the pages of The Face, represents a disengagement with the real, and an evasion of social responsibility. He therefore insists on a return to the world of hunger, exploitation and oppression and with it a resurrection of unfragmented, recognizable subjectivity. He fleetingly engages with an important characteristic of the post-modern condition, that is, the death of subjectivity and the emergence, in its place, of widespread social schizophrenia. Hebdige seems to be saying that if this rupturing of identity is what postmodernism is about, then he would rather turn his back on it. The position of Clement Greenberg in his 1980 lecture entitled The Notion of the Post-Modern could be summarized in the following terms: modernism in painting has been, since its inception with Manet and the impressionists, a heroic struggle against the encroachment of bad taste or kitsch in the domain of art; postmodernism is only the latest name under which commercial bad taste, masquerading as sophisticated â€Å"advancedness,† challenges the integrity of art. Any deviation from modernism, then, involves a betrayal or corruption of aesthetic standards. Seen from this vantage point, the â€Å"post-modern† cannot be much more than a renewed â€Å"urge to relax,† particularly pervasive after the advent of pop art, with its deleterious effects on the art world. This type of argument (modernisms self-conscious mission, to exorcise bad taste from the domain of high art, is today as urgent as it ever was) appears in a variety of forms and shapes in the writings of the defenders of modernist purity against the infiltrations of commercialism and fashion. This realized art, however, is not in a harmonious universal style as Mondrian was envisaging. It consists mostly in forms of art considered banal, sentimental, and in bad taste by most in the Fine Art artworld. Further, because so many people have no interest in Fine Art, it is often thought that visual art has somehow lost its relevance and potency. People ask what the point of art is, and whether it is worthwhile spending public money on art. When people think of art, they think of Fine Art, and the influence of Fine Art seems to be in decline. However, although Fine Art seems to be in decline as a cultural force, visual art has more power in culture now than it ever had. Visual art is not all Fine Art. There is a diversity of kinds of art in contemporary culture. Besides Fine Art, there is also Popular Art, Design Art, and advertising. What Fine Art does for us is just a small part of the total cultural value we get from art. As traditional culture recedes from memory, and technology changes our lifestyles, people look for new values and lifestyles. These new values and lifestyles are carried by the art broadcast over the mass media and on the products we buy. The mass-media arts define our heroes and tell us about the good. Advertisements define pleasure and lifestyle. With mass-market goods we dress our bodies and houses in art, thus using art to define who we are. These contemporary visual arts play a large part in shaping our values, fantasies, and lifestyles. However, conventional art histories tend not to treat the other powerful visual arts of our own time beyond Fine Art, namely, Popular Art, Design Art, and advertising. Advertising is not considered â€Å"art† because it is not functionless beyond being aesthetic. Also, the advertising does not typically show personal expressive creativity. So, the Design Arts are typically considered mere decoration. Popular Art is thought of as in bad taste, banal, sentimental, and so not worthy of consideration either. Since art histories are only looking at â€Å"good† art, they tend not to consider these other arts. Standing as they most often do within the Fine Art art world, art historians use the ideology and sense of artistic value of Fine Art to evaluate all art. From the perspective of the contemporary art world, Popular Art is thought of as a kind of Fine Art; that is, bad Fine Art or Fine Art in bad taste. It seems hackneyed and banal to the Fine Art art world. From their perspective, popular taste is bad taste. For example, Osvaldo Yero, an artist who emerged in the 1990s, has based his work on the technique and poetics of the plaster figures. These figures, mostly decorations, but also religious images, were perhaps considered the last gasp of bad taste. They constituted the epitome of â€Å"uncultivated† appropriation of icons from the â€Å"high† culture as well as from mass culture, done in a poor and artificial material par excellence, worked clumsily in a semi-industrial technique and polychromed with pretentious attempts at elegance. They symbolized the triumph of â€Å"vulgarity, † the failure of the â€Å"aesthetic education of the masses† proposed by socialism. By the 1920s business and advertising agencies had realized that putting style and color choices into the products they made increased consumption. Through the use of advertising and by designing stylistic variety into their products, manufacturers elevated things into the category of fashion goods that had before just been utility goods, like towels, bedding, and bathroom fixtures. Previously these items did not have any style component, but now designers added decoration to their functional design. This meant that now consumers could choose products not just for function, but also for style. People could now have pink sheets, green toilets, and blue phones. There is a tension in design style between aesthetic formalist styles like the international style, and design styles that are figurative. Those favoring figurative design tend to think of products as coming in a great variety and designed to appeal to the various tastes of consumers. Here the style of the products are not dictated by function, but by market pressures. This is a further development of design for sales. This gave rise to what is known as niche marketing, where the styling is targeted to a smaller, more specific group than mass marketing is. Thus, they shun the idea of a unified worldwide machine aesthetic. For example, a razor can be pink with flowers on it to target it to female users, and black with blue accent lines to target it to male users. The razor is the same, but the razor is packaged with different styling to sell the product to different markets. In designing for niche markets, the styling reflects the class, age group, profession, and aspirations of the target group. This goes hand in hand with advertising, and requires a great deal of research to discover what these values are and what styling motifs succeed in communicating them. The exemplary text or the single, richly coded image gives way to the textual thickness and the visual density of everyday life, as though the slow, even languid look of the semiologist is, by the 1980s, out of tempo with the times. The field of postmodernism certainly expresses a frustration, not merely with this seemingly languid pace, but with its increasing inability to make tangible connections between the general conditions of life today and the practice of cultural analysis. Structuralism has also replaced old orthodoxies with new ones. This is apparent in its rereading of texts highly placed within an already existing literary or aesthetic hierarchy. Elsewhere it constructs a new hierarchy, with Hollywood classics at the top, followed by selected advertising images, and girls and womens magazines rounding it off. Other forms of representation, particularly music and dance, are missing altogether. Huyssen argues that â€Å"Pop in the broadest sense was the context in which a notion of the post-modern first took shape, and the most significant trends within postmodernism have challenged modernisms relentless hostility to mass culture. High theory was simply not equipped to deal with multilayered pop. † References Bell, Daniel. (1976). The Cultural Contradictions of Capitalism. New York: Basic Books. C. Norris, Lost in the funhouse: Baudrillard and the politics of postmodernism, in R. Boyne and A. Rattansi (eds) Postmodernism and Society, London, Macmillan, 1990. Hall, Stuart, Connell, Ian and Curti, Lidia (1981). The unity of current affairs television, in T. Bennett et al. (eds) Popular Television and Film, London: BFI. Harvey, David (1989). The Condition of Postmodernity, Oxford: Blackwell. Hebdige, Dick (1979). Subculture: The Meaning of Style, London: Routledge. Huyssen, A. (1984). Mapping the postmodern, New German Critique 33. Jameson, Fredric (1984). Postmodernism, or the cultural logic of late capitalism, New Left Review 146.

Greek Women in The Odyssey :: Homer

The women in The Odyssey are a fair representation of women in ancient Greek culture. In his work, Homer brings forth women of different prestige. First there are the goddesses, then Penelope, and lastly the servant girls. Each of the three factions forms an important part of The Odyssey and helps us look into what women were like in ancient Greece. The role that the housemaids play in The Odyssey is that of servitude. They are expected to serve the suitors and put up with their rude demeanor. During the course of the ten years that the suitors are there, many of the housemaids sleep with them. Upon returning to Ithica, and slaughtering the suitors, Odysseus makes the housemaids who slept with the suitors clean up their dead bodies. After this he hangs them by the neck, with this gesture he indirectly calls them â€Å"harlots†. This indicates one of many feelings toward women of that time. Then there is Odysseus’ wife, Penelope. She is depicted as an individual. Homer makes her character appear as very clever and also very loyal. Never once during Odysseus twenty years of absence does she remarry. She tolerates the suitors in her home for ten years but never chooses, always with the hope that her first husband, Odysseus, will return. Homer also makes her seem clever when she gets all of the suitors to bring her gifts before she â€Å"chooses one† knowing that they are in a short supply of resources. In another instance he portrays her as clever in the way that she keeps the suitor away by weaving the tunic for Odysseus and secretly taking it apart every night. The role Penelope plays is very important because she is seen as a person, not a possession. Finally, there are the goddesses. They represent women in all their glory. They are very human-like in that they feel the same emotions like jealousy, anger, pride, revenge, excitement, joy, compassion, etc. The exception being that they have supernatural powers. Homer even makes then human-like to the extent that they fall in love with mortals, for instance Calypso.