...Kant consistently insists that CI does not involve maxims and that the ends mentioned in CI2 and the realm of ends in CI3 confront the formalist assertions in the Second Critique. Therefore, Kant’s Second Critique attempts to repair the theory and eliminate the problems of his pre-critical writings by introducing a formalistic approach, as I will explicate this part in 5.1, where Kant’s earlier writings concentrated on the notion of the good, either psychologically as seen in the Prize Essay, or as unconditional good and the associate necessary ends in his later essays (e.g., the Second Sensation in the Canon of Pure Reason). In the Groundwork, Kant attaches the good with the willing and associates it with the moral law. Then, he gradually relies on the notion of moral law instead of the notion of the good. In the Groundwork, the notion of the good does not rely on feeling or sensation; rather than it derives from the rational directly. Kant points out that every motive has an...
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...300 Jonathan Hewitt ENG 225 Cicely Denean-Cobb October 2, 2012 The film I have chosen to do my critique on is Zack Snyder’s 300. 300 is a film about King Leonidas, the King of Sparta, and his 300 Spartan warriors who all stood up against the God-king Xerxes and his massive Persian army from annihilation. After watching the film very closely for my critique I believe there is a serious underlying theme that everyone has the right to be free and sometimes you have to stand up and make sacrifices to keep your freedom. Standing up for freedom is never an easy task as shown in 300 but, everyone deserves to be free. In discussing the storytelling, acting, cinematography, editing, sound, style and directing, the impact of society on the film, genre, a formalist approach to analysis, and the overall textual theme of 300 I will attempt to back up my belief. Storytelling 300’s narrative structure is the first-person point of view of Dilios, a Spartan solider under the command of King Leonidas. The film is presented in chronological order and takes place in Sparta and Thermopylae, Greece. The major conflict in the film is that the Persian army has come to Sparta and requests their submission or will kill them and enslave their women and children. King Leonidas makes the decision to stand up to the Persians but; is not allowed to go to war with the Xerxes, the Persian God-king, because the Ephors deny him the right. The Ephors are later found out to be traitors. Unfortunately,...
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...UNIVERSITY (29 Dec 2014 03:14 GMT) The Pedagogical Possibilities of Covering Gilman’s Wallpaper Karla J. Murphy In his introduction to The Pedagogical Wallpaper, Jeffrey Andrew Weinstock notes how the pedagogical diversity of Charlotte Perkins Gilman’s “The Yellow Wall-Paper” prompted him to collect essays for this book. He goes on to explain that “given the ubiquity of the text within various academic settings, I was also struck by the absence of attention to the text within pedagogical contexts. Despite the large (and steadily growing) body of criticism to the story, very little of it explicitly addresses its importance as a tool to facilitate learning or various ways in which to make use of the text in the classroom” (3). As a collection, Weinstock’s The Pedagogical Wallpaper contains informed, detailed, and diverse analysis that attempts to shore up the absence of “pedagogical possibilities” concerning Gilman’s transgressive short story (9). Among the contributors are a MOO space specialist, a Gilman scholar, a queer theorist, an existentialist, a formalist, and several reader/student-response theorists. Because each essayist presents a distinct critical perspective on Gilman’s text, each essay is likewise concerned with “how the narrative teaches and how to teach the narrative” (5). Thus, it seems to me that Weinstock’s The Pedagogical Wallpaper resonates with Pedagogy’s conviction that teaching is central to our work as scholars and educators, no matter what our particular...
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...|Week Three Paper |Max Pts |Your Pts | |Word Count |1 |1 | |APA |2 |2 | |Gram. Sp. Punct. |1 |1 | | | | | |Defining Terms |1 |1 | |Examples used |2 |2 | |Content |3 |3 | |TOTAL |10 |10 | Jury Nullification Paper Therese Carlon June 3, 2012 Joseph Mariconda The United States Declaration of Independence has been viewed over the first two centuries as one of the definitive government documents that spell out both racial and ethnic equality for all Americans. However, there is a section of this worthy document that refers to one of the foundational premises for our founding freedoms: “That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to...
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...Bruce Almighty, A Lesson in Integrity Tenetta Griffin English 225 Melissa Rigney January 14, 2014 Bruce Almighty, A Lesson in Integrity Jim Carrey is a talented comedian and I have enjoyed every film that I’ve seen him in. I selected Bruce Almighty for an in-depth film analysis because of how the talented actors helped put a unique spin on the whole god/human relationship for the modern day moviegoer. This movie is not designed to be an in-depth expose on the god/human relationship but a platform to gently remind the audience the of how important our decisions affect where we are in life and gives us a moment to pause and think about what kind of future do we really desire. In my opinion, the film Bruce Almighty utilizes Jim Carrey's comedic talents to address the heavy topic of the god/human relationship and the moral issue that the director wants the share with the audience is that our free will should be exercised a modicum of human integrity to effectively resolve our own personal issues/dilemmas. My first step in analyzing Bruce Almighty involves taking a closer look at plot development and how this movie took the universal truth concerning how mankind in general tends to get frustrated with God when things just don’t go their way while taking it down a unconventional comedic path to help lighten up the seriousness of the topic. The director of Bruce Almighty’s tells the story from a mixed point of view which means we sometimes learn what is going on at the same...
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...Postmodernism is dead A new exhibition signals the end of postmodernism. But what was it? And what comes next? by Edward Docx / July 20, 2011 / Leave a comment Published in August 2011 issue of Prospect Magazine I have some good news—kick back, relax, enjoy the rest of the summer, stop worrying about where your life is and isn’t heading. What news? Well, on 24th September, we can officially and definitively declare that postmodernism is dead. Finished. History. A difficult period in human thought over and done with. How do I know this? Because that is the date when the Victoria and Albert Museum opens what it calls “the first comprehensive retrospective” in the world: “Postmodernism—Style and Subversion 1970-1990.” Wait, I hear you cry. How do they know? And what was it? Postmodernism—I didn’t understand it. I never understood it. How can it be over? You are not alone. If there’s one word that confuses, upsets, angers, beleaguers, exhausts and contaminates us all, then it is postmodernism. And yet, properly understood, postmodernism is playful, intelligent, funny and fascinating. From Grace Jones to Lady Gaga, from Andy Warhol to Gilbert and George, from Paul Auster to David Foster Wallace, its influence has been everywhere and continues. It has been the dominant idea of our age. So what was it? Well, the best way to begin to understand postmodernism is with reference to what went before: modernism. Unlike, say, the Enlightenment or Romanticism, postmodernism (even as...
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...other director." (Rottentomatoes.com) Channeling the lessons of his inspirations primarily classic Hollywood, the French New Wave, and the New York underground movement of the early nineteen sixties into an extraordinarily personal and singular vision, he has remained perennially positioned at the vanguard of the medium, always pushing the envelope of the film experience with an intensity and courage unmatched by any of his contemporaries. The films of his I am most interested in are: Hugo, The Departed, Raging Bull and Goodfellas. Besides the charming tale of Hugo, all of these films have something in common, extreme violence. Scorsese seems to have worked largely in the medium of violence for most of his career. However, unlike a blockbuster director such as Michael Bay, he doesn't use violence to draw crowds in with explosions. Scorsese uses violence to portray cultural feelings and to show the hardships of many of the characters in his movies. He uses themes such as Roman Catholic guilt, machismo and gang violence. I believe what drives Scorsese and his films is the want to show how violence exists. He wants to show the emotions and complicated scenarios...
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...Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Sociology. http://www.jstor.org This content downloaded from 158.143.192.135 on Fri, 18 Oct 2013 11:39:24 AM All use subject to JSTOR Terms and Conditions Economic Action and Social Structure: The Problem of Embeddedness' Mark Granovetter State University of New York at Stony Brook How behavior and institutions are affected by social relations is one of the classic questions of social theory. This paper concerns the extent to which economic action is embedded in structures of social relations, in modern industrial society. Although the usual neoclassical accounts provide an "undersocialized" or atomized-actor explanation of such action, reformist economists who attempt to bring social structure back in do so in the "oversocialized"way criticized by Dennis Wrong. Under- and oversocialized accounts are paradoxically similar in their neglect...
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...SANDRA ALMEIDA ANA PAULA RAPOSO Women we know: a biographical critical analysis on Unless by Carol Shields Belo Horizonte 2013 Sumário Introduction 3 Men and Women 4 Writers and Readers 7 Goodness 9 Mothers and Children 10 Referências 13 Women we know: a biographical critical analysis on Unless by Carol Shields Introduction Unless is the last novel written by Carol Shields, before she passed away of breast cancer in 2003. The novel is structured in a first person narrative; the narrator is Reta Winters, a 44-year old writer and translator. Throughout the narrative, the reader follows a linear chain of thoughts by Reta on the central theme of the novel, which is her quest to find out why her daughter Norah decided to drop out of university and live on the street with a sign on her chest written "Goodness". The essay will be developed through research in primary sources – interviews – in order to analyze Carol Shield’s work using mostly, but not only, her own concepts and reflections on Literature, writing and being a writer, and composition process of Unless. Many scholars have made researches on the novel, especially about language resources, metafiction and gender issues. The most cited work is Nora Foster Stovel’s ““Because she is a woman”: Myth and Metafiction in Carol Shield’s Unless”. By investigating her compositional process in interviews, the intention of the essay is to create an analysis on the novel; the...
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...One of William Shakespeare’s great advantages as a writer was that, as a dramatist working in the public theater, he was afforded a degree of autonomy from the cultural dominance of the court, his age’s most powerful institution. All over Europe, even if belatedly in England, the courts of the Renaissance nation-states conducted an intense campaign to use the arts to further their power. The theater, despite its partial dependency on court favor, achieved through its material products (the script and the performance) a relative autonomy in comparison with the central court arts of poetry, prose fiction, and the propagandistic masque. When Shakespeare briefly turned to Ovidian romance in the 1590’s and, belatedly, probably also in the 1590’s, to the fashion for sonnets, he moved closer to the cultural and literary dominance of the court’s taste—to the fashionable modes of Ovid, Petrarch, and Neoplatonism—and to the need for patronage. Although the power of the sonnets goes far beyond their sociocultural roots, Shakespeare nevertheless adopts the culturally inferior role of the petitioner for favor, and there is an undercurrent of social and economic powerlessness in the sonnets, especially when a rival poet seems likely to supplant the poet. In short, Shakespeare’s nondramatic poems grow out of and articulate the strains of the 1590’s, when, like many ambitious writers and intellectuals on the fringe of the court, Shakespeare clearly needed to find a language in which to speak—and...
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...context’ may be worth keeping in mind as you read. This is an interpretation seen through my eyes, not yours. My comments are not unbiased, as it is as equally unlikely that yours may be. So my ‘advice’ is consider what is said here and in the book considering the need to understand the ‘mechanics’ that help make sense of the more involved themes that develop in the book as you progress through Law in Context. The observations, important in their own right, may be particularly useful for seeing how their often ubiquitous expression is taken as ‘normal’ in the areas of wider society, such as in discussions of economics and power. It is unlikely that you will find any ‘right answers’ from this summary, but I do hope it helps you in synthesising opinions. A bibliography of books I used is given at the end of this summary. If your head isn’t spinning too much, maybe it is worth getting together earlier in the semester with friends and talking about some of the issues that particularly interest you. Don’t be worried if ‘you don’t know anything’. It’s probable that you, as for most of us, are neither as enlightened nor as...
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...mTELECOURSE STUDY GUIDE FOR The Examined Life FOURTH EDITION author J. P. White Chair, Department of Philosophy Santa Barbara City College contributing author Manuel Velasquez Professor of Philosophy Santa Clara University This Telecourse Study Guide for The Examined Life is part of a collegelevel introduction to philosophy telecourse developed in conjunction with the video series The Examined Life, and the text Philosophy: A Text with Readings, tenth edition, by Manuel Velasquez, The Charles Dirksen Professor, Santa Clara University. The television series The Examined Life was designed and produced by INTELECOM Intelligent Telecommunications, Netherlands Educational Broadcasting Corporation (TELEAC/NOT), and Swedish Educational Broadcasting Company (UR) Copyright © 2007, 2005, 2002, 1999 by INTELECOM Intelligent Telecommunications All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without the written permission of INTELECOM Intelligent Telecommunications, 150 E. Colorado Blvd., Suite 300, Pasadena, California 91105-1937. ISBN: 0-495-10302-0 Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v Lesson One — What is Philosophy? . . . . . . . . . . . . . . . . . . . . ....
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an economic and social tool to achieve some wealth, flexibility, and innovation for individuals and groups; Tradition functions, partly and at times largely, as a mythological state which produces the sensation of larger connectedness and stability in the face of shockingly massive social change over the last half-century. One might also say that Modernity is an economic force with social, cultural, and political correlatives; Tradition is a cultural force with social, economic, and political correlatives. Satisfyingly asymmetrical in their relation, they require us, in talking of one, to talk also of the other, just as they induce us to move as nimbly as possible between theoretical abstraction and experiential reality. But their separation is itself part of the mythological drama in current Indian thought, just as their mutual implication is the import of the same ironic smile that brings to an effective close any conversation one hears here about them. And so we take them in turn only...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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