TOK Graded Writing Assignment No. 2 5. What can be meant by: "Knowledge is the true organ of sight, not the eyes." (Panchatantra) Shirin Naz Bahrami 2/21/02 D-0943-008 I pledge that I have neither given nor received unauthorized aid on this work. -Shirin Bahrami 5. What can be meant by: "Knowledge is the true organ of sight, not the eyes." (Panchatantra) The Concise Oxford Dictionary defines sight as "n. faculty of perception through response of brain action of light on eye." Many, however, would agree that this definition is incomplete. It is incomplete because it fails to take into consideration the fact that without at least some previous knowledge, what one sees will not have much meaning; sight can be considered 30 percent as the biological or anatomical process of the treatment of observable data by the eyes, and as 70 percent analysis by the brain of the object relevant to its own archival knowledge. A new object that is merely glanced upon in passing will not be fully understood or may not even be seen, as it will not be analysed to the full extent that it should be. Hence, while the eyes are necessary in order to decode the message sent to our brains through light, without knowledge of what is being perceived, the object deflecting light-which may be as wondrous as an atomic bomb-may be perceived as no more than a three-dimensional metallic object.
What signs are there that Biff and happy will end up like their father? Arthur Miller's play 'Death of a Salesman' focuses on an American family who have success then their fortunes change for the worst with disastrous consequences. Willy Loman the main character in the play is the father of the family and believes he is a successful salesman. He has two sons Biff and Happy who look up to their father but they both change their feelings about their father throughout the play. Willy always focuses his attention on Biff and not Happy. The mother of the family is Linda and she always encourages her sons to be successful. This essay will be focusing on the signs throughout the play that show that Biff and Happy will end up their father. Biff is the main focus of the family in Willy's eyes he always feels that he is going to be a success and shows this through the support that he gives to him. Willy believes that he is a great sportsman and that he will be a great success because he believes that he has got offers from different Universities "...with scholarships to three universities". Biff is pressurised by Willy because Willy wants biff to become a success and Biff is trying his best but not succeeding and Willy's support has a negative effect on him because he is not allowed to focus on the life that he wants to live, he is living a life which Willy wants him to live, he is
Oedipus and Freud. In exploring Sophocles tragedy, Freud creates his own myth expanding on this through his theory that the origins of the legend of Oedipus lie in primeval dream-material.
. Freud, The Interpretation of Dreams From p.262 "If Oedipus Rex moves a modern audience..." to p.264 "The attempt to harmonize divine omnipotence with human responsibility must naturally fail in connection with this subject-matter just as with any other." Freud's consideration of the Greek myth of Oedipus Rex forms a basis for his exploration of dreams as wish-fulfillment, a reflection of our subconscious drives. His dream-theory recognises dreams as 'the royal road to the unconscious' and he applies the same reading to art, including literature, arguing that it is not the visible or 'manifest' content but the concealed ('latent') content which needs to be interpreted. Freud opens this exploration of the Oedipus myth confidently with a subordinate clause of condition. He argues that because Sophocles' protagonist 'moves a modern audience' as he did the original Greek audiences, it cannot be because of the 'contrast between destiny and human will.'1 In developing his argument, Freud acknowledges that arbitrary fate can be and is dismissed in other modern dramas, supporting his comment with a reference to Grillparzer's Die Ahnfrau, a nineteenth century drama. Consequently, Freud establishes that the impact of the Oedipus myth on contemporary audiences lies in the essential 'nature' of the exemplification of this contrast between free will and predestination. For Freud the
Alcestis. In Euripides play, Alcestis, the chorus serves as a way to observe and comment on progression of the characters, forward the action of the play, and evoke sympathy for the hero in the play. Euripides uses the chorus as the most important elem
The chorus has always played an important role in the Ancient Greek dramas. Usually ranging from 15 to 50 citizens, they have different purposes; most commonly, they provide information and insight for the audience to speculate over. In Euripides' play, Alcestis, the chorus serves as a way to observe and comment on progression of the characters, forward the action of the play, and evoke sympathy for the hero in the play. Euripides uses the chorus as the most important element in his play; without them the audience would not be able to fully appreciate the complexity of his characterization and the subtlety of his plot structure. The Chorus serves as way for the viewer to better understand the actions of the characters. Throughout the play the Chorus refers to past actions that lead them to believe Admetos is, "A noble man," (Euripides 49). Although they believe he is dignified, they often question his actions. For example, when Herakles comes to Ademtos' house he welcomes him in. The Chorus questions the gesture, "Your wife not dead an hour, and you can bear the thought of entertaining guests?" (Euripides 61). The Chorus, along with the viewer, does not understand how such a seemingly dedicated husband can stand the thought of having a visitor in his home when he is mourning. In this scene, the Chorus also questions Admetos for lying to his guest by not informing Herakles
Shakespeare's "One-Word Play": "Nature" in King Lear It is often noted that a Shakespearean tragedy, as a typical Elizabethan or Jacobean play, is in almost diametric opposition to a classical tragedy: whereas the latter is a controlled and concentrated drama achieving its tightly-knit simplicity by observing "the rules" such as the "unities of time, place, and action," the decorum of action," and the "purity of genre"; the former simply disregards all these "rules" and abandons itself to such an extent that it often leaves the reader or audience/spectator the impression of having an expansiveness and looseness for its vitality.1 Now, King Lear is indeed such a typical Shakespearean tragedy. Its action is truly not confined to one place or a short period of time, while a subplot is introduced in it to complicate the matter. Besides, scenes of violence are presented directly on the stage, while scenes of "comic relief" or grotesque humor appear to make the play dubious in its purity as a tragedy.2 Does this play with its expansiveness and looseness, then, demonstrate no unity of any sort? Actually, most competent critics seem to agree that the play, in fact, has its own unity. A. W. Schlegel, for instance, thus exclaimed in reference to the play's double plot: "The incorporation of the two stories has been censured as destructive of the unity of action. But whatever
Explain what is meant by the term 'Syllable'. Select two languages with which you are familiar. Compare their syllable structure and other important characteristics of the syllable in each language. What sort of problems could differences in the content and structure of syllables in the two languages cause for second language learners? CONTENTS Introduction: .1 What is a syllable?..................................................................3 2 Defining the English syllable..................................................4 2.1 English Syllable Structure...................................................5 2.2 Syllable division.................................................................6 3 Constraints..........................................................................7 Stress.....................................................................................9 4.1 Identifying Stress in Syllables (for learners)............................9 5 Japanese ???...................................................................10 6 Mora: Difference between Syllable and Mora.............................11 6.1 Syllable Debate..................................................................12 7 Mora Timing.......................................................................13 8
In what ways did the presence of the Emperor transform the powers and responsibilities of the Roman senate?
In what ways did the presence of the Emperor transform the powers and responsibilities of the Roman senate? The Roman senate of the republic had, in principle, an advisory role in Roman government, and was made up of elected individuals of the landowning class or those with substantial family wealth. The senate's advice was given to the magistrates on all matters including foreign and military policy, religion, and finance by means of decrees known as senatus consultum. While in theory these decrees had no legal force and did not have to be obeyed, in practice they usually were. In the late republic the position of the senate became particularly significant, claiming the right to wield absolute power in certain circumstances and asserting its right to pass the 'ultimate decree' of senatus consultum ultimum in a state of emergency. (Roberts, 2005, 639) However, it was also around this time that the senate as a governing body was becoming vulnerable under the growing presence of the populares, and later, of an Emperor. In this essay I am going to determine just how the powers and responsibilities of the senate changed when the republic fell into collapse and Octavian (later Augustus) became the dominant figure in Roman politics. To understand how the senate changed in the presence of an Emperor, we must perhaps first understand the senate's exact role in the late
ROMAN EGYPT WHAT DO THE LITERARY AND HISTORICAL TEXTS TELL US ABOUT ROMAN ATTITUDES TOWARDS EGYPT? '...a province so difficult of access, so productive of corn, ever distracted, excitable, and restless through the superstition and licentiousness of its inhabitants, knowing nothing of laws, and unused to civil rule.' (His. 1.1) This frank commentary from Tacitus reveals only to a small extent the extreme and often negative views generated towards Egypt following its annexation under Octavian. When Mark Antony and Cleopatra were defeated at Actium in 31BC, the Roman Empire seized control of Egypt. This new province would prove to be one of its most lucrative and often difficult endeavours. Cleopatra's suicide saw the end of the Ptolemaic dynasty which had been in place for almost 300 years. Egypt would, for the first time, be governed by Roman law. It was 14 years prior to this that the young Octavian - later known as Augustus - had been handed almost total authority of Rome following the death of Julius Caesar at the hands of forty conspiring senators. His position was a tenuous one: it was the creation of such an autocracy which had resulted in the death of his great-uncle, and Octavian was sure - at least outwardly - to revive the Republican sentiments that had otherwise been lost. The military dictatorship he formed with Marcus Lepidus and Mark Antony (also
The Power of Fate in Aeneas Journey. Throughout Virgils Aeneid fate directs the protagonist and hero, Aeneas, via the gods and goddesses.
Fate and Destruction: The Power of Fate in Aeneas' Journey Throughout Virgil's Aeneid fate directs the protagonist and hero, Aeneas, via the gods and goddesses. Aeneas makes certain decisions himself, but every aspect of his life and journey are influenced by Fate, prophecy and predictions. Repeatedly the gods, through dreams or visions, appear to him, direct his path and solidify his destiny to found the great city of Rome. Turnus and Dido, both prominent figures in the epic poem who die at the hands of Aeneas, are affected by the Fate of the gods either directly or through Aeneas. The divine sway of the gods and Fate infringes on Aeneas' free will to control his life and remain a reluctant warrior until the power of raw emotion pushes him to kill Turnus. Aeneas is destined to found Rome, but first he must complete a series of obstacles created by the gods, which control his every move. The first sentence of the poem reads, "Wars and a man I sing-an exile driven on by Fate" (Virgil 47). The Fates and the gods have a plan for Aeneas and the time has come to fulfill their arrangements. Being the son of a mortal and goddess (Anchises and Venus) leaves Aeneas as the perfect vehicle for founding Rome, and implies sanctified protection by the gods. Aeneas acknowledges his destiny, and despite his unhappiness, continues on his pre-set path because his piety remains strong.
Greek tragedies often establish free will and fate as the driving forces of the conflict. In Oedipus the King, written by Sophocles,
Lauren Lazar September 27, 2005 Paper #1 English 7- Prof. Hedin Greek tragedies often establish free will and fate as the driving forces of the conflict. In Oedipus the King, written by Sophocles, Oedipus, the son of king Laius and Jocasta, has free will which ultimately leads him to finding out his fate. Oedipus' freedom is what guides him to his destiny. The choices that Oedipus makes determine how fast or slow he is going to find out about his fate. It is possible for him to not have found out about his fate at all. It is his free will that determines some of his actions. There are several instances when Oedipus' freedom allows him to make choices that were not prescribed in his fate. Oedipus chooses to find Laius' assassin. In addition, he takes his punishment upon himself. His learning of his past leads to his downfall and the outcome of his life. Oedipus was born to king Laius and queen Jacosta. Upon his birth the king is informed by an oracle that their son is going to grow up and murder his father and marry his mother. To protect himself and his wife, the king sends him away to be killed. However, Oedipus is saved by a shepherd and brought to the home of a married couple, who raises him as their own. Years later, while traveling through the countryside, Oedipus is confronted by a man that he ultimately kills. The