«Describe the logical positivist view of scientific theories. Explain at least one problem with the view, and assess whether it is a problem for all forms of logical positivism. Logical positivism, developed by the members of the Vienna Circle, was a...» Document abstract
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Language : english
humanities/philosophy
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06/05/2008
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SummaryDescribe the logical positivist view of scientific theories. Explain at least one problem with the view, and assess whether it is a problem for all forms of logical positivism. Logical positivism, developed by the members of the Vienna Circle, was a new way of considering science and language. It was essentially a new version of empiricism based on a theory of language. According the logical positivism the goal of any scientific endeavor, and indeed of science itself, is to trace and forecast patterns, both in every day life and in more esoteric considerations. One way to sum up the logical positivist view is that “there is no alternative route to knowledge besides experience
Working out problems results in better problem solving performance than studying worked-out problems
«Performance = Accomplishment
It is associated to effective management of work, support and feedback
Cognitive Load = Effort
The load imposed on the cognitive system of a learner when performing a particular task
= the amount of effort required...» Document abstract
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9 slides .ppt
Language : english
humanities/philosophy
presentation
date published
05/05/2008
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SummaryPerformance = Accomplishment
It is associated to effective management of work, support and feedback
Cognitive Load = Effort
The load imposed on the cognitive system of a learner when performing a particular task
= the amount of effort required to perform a task.
The factors affected by the cognitive load
They refer to:
the mental load imposed by the task
the mental effort needed to fulfill the task
the level of performance
«Humbert, throughout Lolita, creates an inescapable defeat through his interactions with Lolita and his antagonist, Clare Quilty. These interactions contradict his early confidence in possessing Lolita. These characters consciously threat Humbert’s...» Document abstract
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4 word format
Language : english
literature
book review
date published
05/05/2008
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SummaryHumbert, throughout Lolita, creates an inescapable defeat through his interactions with Lolita and his antagonist, Clare Quilty. These interactions contradict his early confidence in possessing Lolita. These characters consciously threat Humbert’s exclusive relationship with Lolita. Their successful efforts, especially those of Lolita herself, against Humbert’s idealized romance with Lolita stand as manifestations of inherent vulnerabilities within committed relationships, exposing a common thread between masochism and monogamy.
«Kafka’s The Metamorphosis is full of power structures that dictate the actions of each character. Each character finds him or herself in a role of accountability and responsibility that dictates how he or she acts, particularly towards other...» Document abstract
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6 word format
Language : english
literature
presentation
date published
04/05/2008
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level : Advanced
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SummaryKafka’s The Metamorphosis is full of power structures that dictate the actions of each character. Each character finds him or herself in a role of accountability and responsibility that dictates how he or she acts, particularly towards other characters. Gregor, for instance, is accountable to his boss and has a certain amount of responsibilities that arise from his duties. His boss is accountable to a larger abstract conglomerate of higher-ups who represent the larger of the company that he and Gregor work for. In this manner his responsibilities create for him a role he must maintain in order to keep Gregor in check. These are two examples of many power dynamics between characters. These two dynamics however are good examples of the work-place power structure. In The Metamorphosis this structure includes employers, employees, debtors, and familial relations dependant upon the structure’s income. Within this structure one finds it difficult to maintain a sense of agency when so much of each character’s action is dependant upon his or her ability to maintain status in the power structure which supports his or her life. In studying madness, a common thread found in determining madness is one’s inability to pursue one’s own agency. This is not simply to say that madness is found when external forces dictate what one is able to do in life. What this really means is that one has agency—something that one does or plans to do and is clearly in his or her best interest—but acts against it because of some sort of irritating force. In “The Metamorphosis” it is clear that the financial power structure has such a gripping hold on the characters that it is this structure which brings the characters to act against their own best interests.The most obvious instance of submission comes from Gregor. He is placed on the lowest rung of the power structure because of who he is accountable to and responsible for. He is under the power of his family because he works for their income. He is under the power of his boss because his boss is the source of the Samsa income.
key words- Samsa, Brian Danoff, Hannah Arendt,
key words- Samsa, Brian Danoff, Hannah Arendt,
«Laura Tanner, in her Intimate Violence, points out that, while reading, one becomes detached from victims of violence in particular texts such that the reader is able to observe the act of violence without suffering its consequences (Tanner, 9)....» Document abstract
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4 word format
Language : english
literature
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04/05/2008
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SummaryLaura Tanner, in her Intimate Violence, points out that, while reading, one becomes detached from victims of violence in particular texts such that the reader is able to observe the act of violence without suffering its consequences (Tanner, 9). While Tanner is correct in her assertion that representations of violence give the reader a look at violence without consequence, it is not necessarily the case that the violence done unto Temple Drake in William Faulkner’s Sanctuary keeps the reader so detached from her plight that the reader cannot sympathize with her through others’ eyes.Tanner does not take time to discuss the nature of representation in more general terms, and without looking at representation in more general terms it is hard to interpret the effects of other types of representation of which there are plenty in Sanctuary. Representation from Tanner’s perspective consist of two main points, and those are the detachment the reader goes through when reading the representation, and, secondly, the idea that this detachment invites the reader to empathize with the “doer” of the represented act.
«In literature, the vampire bite is often interpreted as a symbol of coitus between the vampire and his or her victim. However, when one takes a closer look into the anatomy and functions involved in the sex of particular blood-sucking scenes found...» Document abstract
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3 word format
Language : english
literature
presentation
date published
03/05/2008
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SummaryIn literature, the vampire bite is often interpreted as a symbol of coitus between the vampire and his or her victim. However, when one takes a closer look into the anatomy and functions involved in the sex of particular blood-sucking scenes found in vampire literature, it becomes clear that the erotic scene is of a transsexual nature, abandoning preconceived conventions of the male and female body.
Dracula of Bram Stoker’s Dracula employs different ways of sucking blood and receives different results. His initial attacks on Mina and Lucy are applied to the neck. It would be a misleading simplification to say that these scenes are heteroerotic in nature after one takes notice of the hermaphroditic composition of Dracula in his erogenous role. Dracula’s anatomy consists of several possible combinations of phallic and vaginaic symbols. His fangs protrude from the gums farther than the rest of his teeth. The fangs could be view as phallic symbols, or, by appearance, one may interpret them as two clitorises. The clitoris interpretation is more viable than one may first think when one attributes Dracula’s lips to the labia. The bite would be a mere prick (no pun intended) without the sucking of the blood. The only sign of ejaculation during the intercourse between Mina and Lucy and Dracula is the bleeding of the girls’ necks. Dracula sucks the blood, as ejaculatory fluid, in a manner similar to the contractions of vaginal muscle tissue during vaginal orgasm—the mouth closes tightly around the puncture-wounds (which provide the ejaculation) while the throat opens to accept the blood into the stomach. (Kitzinger, 49) This construct is further legitimized when one expands the comparison of Dracula’s digestive system to the female reproductive system.
Dracula of Bram Stoker’s Dracula employs different ways of sucking blood and receives different results. His initial attacks on Mina and Lucy are applied to the neck. It would be a misleading simplification to say that these scenes are heteroerotic in nature after one takes notice of the hermaphroditic composition of Dracula in his erogenous role. Dracula’s anatomy consists of several possible combinations of phallic and vaginaic symbols. His fangs protrude from the gums farther than the rest of his teeth. The fangs could be view as phallic symbols, or, by appearance, one may interpret them as two clitorises. The clitoris interpretation is more viable than one may first think when one attributes Dracula’s lips to the labia. The bite would be a mere prick (no pun intended) without the sucking of the blood. The only sign of ejaculation during the intercourse between Mina and Lucy and Dracula is the bleeding of the girls’ necks. Dracula sucks the blood, as ejaculatory fluid, in a manner similar to the contractions of vaginal muscle tissue during vaginal orgasm—the mouth closes tightly around the puncture-wounds (which provide the ejaculation) while the throat opens to accept the blood into the stomach. (Kitzinger, 49) This construct is further legitimized when one expands the comparison of Dracula’s digestive system to the female reproductive system.
«Because Gertrude Stein works within the medium of writing instead of painting, it is easier for her audience to view her separate from Cubism or Post-Impressionism though it still stands that they influenced her. She shares many values and ideals...» Document abstract
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3 word format
Language : english
literature
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03/05/2008
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SummaryBecause Gertrude Stein works within the medium of writing instead of painting, it is easier for her audience to view her separate from Cubism or Post-Impressionism though it still stands that they influenced her. She shares many values and ideals held by the members of those two painterly movements but do not necessarily fit into one or the other. Stein is in a unique artistic position where she works within a genre that doesn’t have so many specific genres to conform to. Thus, Stein takes advantage of her relatively movement-less medium to interpret and embrace values of Cubism and Post-Impressionism without having to conform to either one. In a debate over whether Stein fits into a painterly movement or not, it is made clear that artistic values are universal and can translate well from one medium to another.Stein’s objection to realistic representation in art and literature isn’t so clean cut as to dictate a clear artistic moral value. While she makes harsh and pointed claims against photographic reproduction in her lecture on painting, she does leave room for broad artistic freedom in attaining effective creativity. On one hand, she is a harsh critic of realistic representations of visual life as she says, “But Courbet bothered me. He did really use the color that nature looked like that any landscape looked like when it was just like itself as you saw it in passing. Courbet really did use the colors that nature looked like to anybody that a water-fall in the woods looked like to anybody. And what had that to do with anything, in fact did it not destroy a little of the reality of the oil-painting.” (Stein, 74) Without delving into exactly why Stein feels this way about visual art, it is clear that she values abstract portrayals of reality. In visual art when one reproduces what one sees, Stein demands of the painter that he or she not simply reproduce nature.
«Is it better to have loved and lost, than never loved at all? When considering the abstractness and relativity of love, poetry is an art form unrivaled. T.S. Eliot and Andrew Marvell, each poets of incredible vision, analyzed love in two entirely...» Document abstract
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Language : english
literature
presentation
date published
01/05/2008
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SummaryIs it better to have loved and lost, than never loved at all? When considering the abstractness and relativity of love, poetry is an art form unrivaled. T.S. Eliot and Andrew Marvell, each poets of incredible vision, analyzed love in two entirely different lights while concurrently capturing identical aspects. One of Eliot's earliest poems, "The Love Song of J. Alfred Prufrock," stars a lonely, brooding speaker incapable of mustering up the courage to pursue love. In Marvell's "To His Coy Mistress," the poem features one sly speaker attempting to woo a young woman into bed. Both poems analyze the topic of love, and more importantly, its elusiveness. T.S. Eliot was a young man when he wrote his poem in the early twentieth century. Andrew Marvell, generally recognized as a pious Anglican Christian poet, published his surprisingly out of character poem posthumously. Why is it that these two poems, entirely different in everything from construct to tone to time period, are capable of capturing the demons and trials man must overcome when pursuing love? They are each writers with command over a variety of poetic tools. Each alludes to Classical and Biblical references, and each is unique in its perspective. The speakers in both poems have the same goal, but only Marvell is directed towards an actual person. On the other hand, the fictitious Prufrock of Eliot's design is introverted.
«The thinker's woe at his own ignorance, despite some great deal of learning, has been a common literary predicament since the Age of Reason. While many of the mathematicians and scientists kept insisting upon the reducibility of existence to laws,...» Document abstract
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2 word format
Language : english
literature
presentation
date published
30/04/2008
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SummaryThe thinker's woe at his own ignorance, despite some great deal of learning, has been a common literary predicament since the Age of Reason. While many of the mathematicians and scientists kept insisting upon the reducibility of existence to laws, educated men of other fields have not always been wholly satisfied with science's attempts to define the parameters, means, and modes of existence. Indeed, the educated men of the Romantic Age almost made light of their educations, and favored a return to the senses nearly across the board. Unsatisfied with the loss of spirit they were observing in a society becoming colder and more mechanized by the Enlightenment, they sought a return to Nature.
«Dostoevsky’s Underground Man is an attempt to offer an example of the true result of egoism, as opposed to the rational egoism of Western European Enlightenment literature. It became the intellectual fashion at this time to believe that natural law...» Document abstract
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Language : english
humanities/philosophy
book review
date published
29/04/2008
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SummaryDostoevsky’s Underground Man is an attempt to offer an example of the true result of egoism, as opposed to the rational egoism of Western European Enlightenment literature. It became the intellectual fashion at this time to believe that natural law was the only law, and that if men acted according to what was in their natural best interests, society would be better off. With Notes From Underground, Dostoevsky sought to fight against the moral corruption of the Russian people by these naturalist European theories. The Underground Man is a true egoist who makes full use of the free will that the rational egoists deny, and because of that is shown to be morally reprehensible. I think it is a mistake to read the Underground Man as being in intellectual agreement with the rational egoists, with emotional contradictions. It seems to me that he feels his form of egoism to be truer and fuller than the form represented by the “good men” who (claim to) act according to the laws of nature. Even a man as sick and wicked as the Underground Man wouldn’t be believably human unless he had a moral conscience, even if he doesn’t behave according to it.
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