Transcendentalism: The Philosophy Of The Mind Essay -- essays researc

Transcendentalism: The Philosophy of the Mind Transcendentalism is the view that the basic truth of the universe lies beyond the knowledge obtained from the senses, a knowledge that transcendentalists regard as the mere appearance of things (Adventures 162). Transcendentalists believe the mind is where ideas are formed. The transcendentalist ideas of God, man, and the universe were not all original, but were a combination of other philosophies and religions. One of the major questions of philosophy is "What is the nature of the universe?" Immanuel Kant was one of the major Transcendentalists of his time. One of the major questions he asked was, "What is knowledge, and how is it possible?" Transcendentalists believe that one really only knows personal experiences, and that one can not know the universe which exists. Kant came to the conclusion that there are two universes, one of experience, called the "Phenomenal Universe", and the other the "Noumenal Universe", the one of reason. The first is scientific and the other practical (Frost 42). Transcendentalists think there is a dimension of depth in everything that exists. They also think the spirit is what controls your physical side (Halverson 431). Some transcendentalists say the world has no beginning in time, everything takes place according to the laws of nature. The same people think there is not necessarily an absolute Being who causes the world to be (Frost 42). Transcendentalists think nature is a product of the mind, and without the mind nature would not exist (Santayana 42). These ideas come from the Romantic traditions which originated in England. The Romantics believed in spiritual unity of all forms of being, with God, humanity, and nature sharing a universal soul (Adventures 208). Transcendentalists came to the conclusion that good and evil were things only man could control. Their belief of man is that man is part of the universe of objects and things. His knowledge is confined to ideas. He is able to reason, and he can form ideas of the outer world of God, freedom, and immortality (Frost 53). Immanuel Kant said, "Always act in such a way that the maxim determining your conduct might as well become a universal law; act as though you can will that everybody sh... ... a bowl with many crevices and depressions in it's contour. When one pours water into the bowl, it takes the shape of the bowl, filling all the crevices. In the same way the environment pours impressions into the mind and they are received by the mind and shaped according to the nature of this mind (Frost 257). Some transcendentalists think all minds are alike. They say all minds have certain categories such as totality, unity, plurality, and reality. Transcendentalists believe knowledge is limited to the combined role of sensibility and understanding, both of which are concerned with sense and experience, though in different ways (Hakim 98). They also think knowledge is universal (Frost 258). Some transcendentalists think the ideas are of the mind and cannot be applied to a world outside of the mind. They believe ideas are a result of the kind of thinking organ which people have, and are determined by it's nature. Transcendentalism is a combination of beliefs, some of which are from other religions and other people and their philosophies. It is a belief that there is another way knowledge is obtained, not only from the senses, but also from the mind.

Expressionism in Death of Salesman Essay

From the opening flute notes to their final reprise, Miller’s musical themes express the competing influences in Willy Loman’s mind. Once established, the themes need only be sounded to evoke certain time frames, emotions, and values. The first sounds of the drama, the flute notes â€Å"small and fine,† represent the grass, trees, and horizon – objects of Willy’s (and Biff’s) longing that are tellingly absent from the overshadowed home on which the curtain rises. This melody plays on as Willy makes his first appearance, although, as Miller tells us, â€Å"[h]e hears but is not aware of it† (12). Through this music we are thus given our first sense of Willy’s estrangement not only from nature itself but from his own deepest nature. As Act I unfolds, the flute is linked to Willy’s father, who, we are told, made flutes and sold them during the family’s early wanderings. The father’s theme, â€Å"a high, rollic king tune,† is differentiated from the small and fine melody of the natural landscape (49). This distinction is fitting, for the father is a salesman as well as an explorer; he embodies the conflicting values that are destroying his son’s life. The father’s tune shares a family likeness with Ben’s â€Å"idyllic† (133) music. This false theme, like Ben himself, is associated finally with death. Ben’s theme is first sounded, after all, only after Willy expresses his exhaustion (44). It is heard again after Willy is fired in Act II. This time the music precedes Ben’s entrance. It is heard in the distance, then closer, just as Willy’s thoughts of suicide, once repressed, now come closer at the loss of his job. And Willy’s first words to Ben when he finally appears are the ambiguous â€Å"how did you do it?† (84). When Ben’s idyllic melody plays for the third and final time it is in â€Å"accents of dread† (133), for Ben reinforces Willy’s wrongheaded thought of suicide to bankroll Biff. The father’s and Ben’s themes, representing selling (out) and abandonment, are thus in opposition to the small and fine theme of nature that begins and ends the play. A whistling motif elaborates this essential conflict. Whistling is often done by those contentedly at work. It frequently also accompanies outdoor activities. A whistler in an office would be a distraction. Biff Loman likes to whistle, thus reinforcing his ties to nature rather than to the business environment. But Happy seeks to stifle Biff’s true voice: HAPPY . . . Bob Harrison said you were tops, and then you go and do some damn fool thing like whistling whole songs in the elevator like a comedian. BIFF, against Happy. So what? I like to whistle sometimes. HAPPY. You don t raise a guy to a responsible job who whistles in elevator! (60) This conversation reverberates ironically when Howard Wagner plays Willy a recording of his daughter whistling Roll out the Barrel† just before Willy asks for an advance and a New York job (77). Whistling, presumably, is all right if you are the boss or the boss’s daughter, but not if you are an employee. The barrel will not be rolled out for Willy or Biff Loman. Willy’s conflicting desires to work in sales and to do outdoor, independent work are complicated by another longing, that of sexual desire, which is expressed through the â€Å"raw, sensuous music† that accompanies The Woman’s appearances on stage (116, 37). It is this music of sexual desire, I suggest, that â€Å"insinuates itself† as the first leaves cover the house in Act 1.5 It is heard just before Willy – reliving a past conversation – offers this ironic warning to Biff: â€Å"Just wan na be careful with those girls, Biff, that’s all. Don’t make any promises. No promises of any kind† (27). This raw theme of sexual desire contrasts with Linda Loman’s theme: the maternal hum of a soft lullaby that becomes a â€Å"desperate but monotonous† hum at the end of Act I (69). Linda’s monotonous drone, in turn, contrasts with the â€Å"gay and bright† music, the boys’ theme, which opens Act II. This theme is associated with the â€Å"great times† (127) Willy remembers with his sons – before his adultery is discovered. Like the high, rollicking theme of Willy’s father and like Ben’s idyllic melody, this gay and bright music is ultimately associated with the false dream of materialistic success. The boys theme is first heard when Willy tells Ben that he and the boys will get rich in Brooklyn (87). It sounds again when Willy implores Ben, â€Å"[H]ow do we get back to all the great times?† (127). In his final moments of life, Willy Loman is shown struggling with his furies: â€Å"sounds, faces, voices, seem to be swarming in upon him† (136). Suddenly, however, the â€Å"faint and high† music enters, representing the false dreams of all the â€Å"low† men. This false tune ends Willy’s struggle with his competing voices. It drowns out the other voices, rising in intensity â€Å"almost to an unbearable scream† as Willy rushes off in pursuit. And just as the travail of Moby Dick ends with the ongoing flow of the waves, nature, in the form of the flute’s small and fine refrain, persists – despite the tragedy we have witnessed. Sets In the introduction to his Collected Plays, Miller acknowledges that the first image of Salesman that occurred to him was of an enormous face the height of the proscenium arch; the face would appear and then open up. â€Å"We would see the inside of a man’s head,† he explains. â€Å"In fact, The Inside of His Head was the first title. It was conceived half in laughter, (60) for the inside of his head was a mass of contradictions† (23). By the time Miller had completed Salesman, however, he had found a more subtle plays correlative for the giant head; a transparent setting. â€Å"The entire setting is wholly, or, in some places, partially transparent,† Miller insists in his set description (11). By substituting a transparent setting for a bisected head, Miller invited the audience to examine the social context as well as the individual organism. Productions that eschew transparent scenery eschew the nuances of this invitation. The transparent lines of the L oman home allow the audience physically to sense the city pressures that are destroying Willy. â€Å"We are aware of towering, angular shapes behind [Willy’s house], surrounding it on all sides. The roofline of the house is one-dimensional; under and over it we see the apartment buildings† (11-12). Wherever Willy Loman looks are these encroaching buildings, and wherever we look as well. Willy’s subjective vision is expressed also in the home’s furnishings, which are deliberately partial. The furnishings indicated are only those of importance to Willy Loman. That Willy’s kitchen has a table with three chairs instead of four reveals both Linda Loman’s unequal status in the family and Willy’s obsession with his boys. At the end of Act I, Willy goes to his small refrigerator for life-sustaining milk (cf. Brecht’s parallel use of milk in Galileo). Later, however, we learn that this repository of nourishment, like Willy himself, has broken down. That Willy Loman’s bedroom contains only a bed, a straight chair, and a shelf holding Biff’s silver athletic trophy also telegraphs much about the man and his family. Linda Loman has no object of her own in her bedroom. Willy Loman also travels light. He has nothing of substance to sustain him. His vanity is devoted to adolescent competition. Chairs ultimately become surrogates for people in Death of a Salesman as first a kitchen chair becomes Biff in Willy’s conflicted mind (28) and then an office chair becomes Willy’s deceased boss, Frank Wagner (82). In, perhaps, a subtle bow to Georg Kaiser’s Gas I and Gas II, Miller’s gas heater glows when Willy thinks of death. The scrim that veils the primping Woman and the screen hiding the restaurant where two women will be seduced suggest Willy Loman’s repression of sexuality. Lighting Expressionism has done more than any other movement to develop the expressive powers of stage lighting. The German expressionists used light to create a strong sense of mood and to isolate characters in a void. By contrasting light and shadow, and by employing extreme side, overhead, and rear lighting angles, they established the nightmarish atmosphere in which many of their plays took place. The original Kazan Salesman made use of more lights than were used even in Broadway musicals (Timebends 190). At the end of act 1, Biff comes downstage â€Å"into a golden pool of light† as Willy recalls the day of the city baseball championship when Biff was â€Å"[l]ike a young God. Hercules – something like that. And the sun, the sun all around him.† The pool of light both establishes the moment as one of Willy’s memories and suggests how he has inflated the past, given it mythic dimension. The lighting also functions to instill a sense of irony in the audience, fo r the golden light glows on undiminished as Willy exclaims, â€Å"A star like that, magnificent, can never really fade away!† We know that Biff’s star faded, even before it had a chance to shine, and even as Willy speaks these words, the light on him begins to fade (68). That Willy’s thoughts turn immediately from this golden vision of his son to his own suicide is indicated by the â€Å"blue flame† of the gas heater that begins immediately to glow through the wall – a foreshadowing of Willy’s desire to gild his son through his own demise. Productions that omit either the golden pool of light or the glowing gas heater withhold this foreshadowing of Willy’s final deed. Similarly, productions that omit the lights on the empty chairs miss the chance to reveal the potency of Willy’s fantasies. Perhaps even more important, the gas heater’s flame at the end of Act I recalls the â€Å"angry glow of orange† surrounding Willy’s house at the play’s beginning (11). Both join with the â€Å"red glow† rising from the hotel room and the restaurant to give a felt sense of Willy’s twice articulated cry: â€Å"The woods are burning!†¦There’s a big blaze going on all around† (41, 107). Without these sensory clues, audiences may fail to appreciate the desperation of Willy’s state. Characters and Costumes Miller employs expressionistic technique when he allows his characters to split into younger versions of themselves to represent Willy’s memories. Young Biff’s letter sweater and football signal his age reversion, yet they also move in the direction of social type. The Woman also is an expressionistic type, the play’s only generic character other than the marvelously individualized salesman. Miller’s greatest expressionistic creations, however, are Ben and Willy Loman. In his Paris Review interview, Miller acknowledged that he purposely refused to give Ben any character, â€Å"because for Willy he has no character – which is, psychologically, expressionist because so many memories come back with a simple tag on them: somebody represents a threat to you, or a promise† (Theater Essays 272). Clearly Ben represents a promise to Willy Loman. It is the promise of material success, but it is also the promise of death.6 We might consider Uncle Ben to be the ghost of Ben, for we learn that Ben has recently died in Africa. Since Miller never discloses the cause of Ben’s death, he may be a suicide himself. His idyllic melody, as I have noted, becomes finally a death march. In Willy’s last moments, the contrapuntal voices of Linda and Ben vie with each other, but Willy moves inexorably toward Ben. Alluding to Africa, and perhaps also to the River Styx, Ben looks at his watch and says, â€Å"The boat. We’ll be late† as he moves slowly into the darkness (135). Willy Loman, needless to say, is Miller’s brilliant demonstration that expressionistic techniques can express inner as well as outer forces, that expressionism can be used to create â€Å"felt,† humane character. The music, setting, and lighting of Salesman all function to express the world inside Willy Loman’s head, a world in which social and personal values meet and merge and struggle for integration. As Miller writes in the introduction to his Collected Plays: [The play’s] expressionistic elements were consciously used as such, but since the approach to Willy Loman’s characterization was consistently and rigorously subjective, the audience would not ever be aware – if I could help it – that they were witnessing the use of a technique which had until then created only coldness, objectivity, and a highly styled sort of play. (39) In 1983, when Miller arrived in Beijing to direct the first Chinese production of Death of a Salesman, he was pleased to find that the Chinese had created a mirror image of the original transparent set. Seeing this set, and observing that the kitchen was furnished with only a refrigerator, table, and two (not even three) chairs, Miller felt â€Å"a wonderful boost† to his morale (Salesman in Beijing 3-4). Teachers and directors might offer a similar boost by giving full weight to the expressionistic moments in Death of a Salesman. For directors, achieving such moments may be technically demanding, but they should not be abandoned simply because they are challenging.7 Similarly, the expressionistic devices should not be considered too obvious for postmodern taste. In truth, the expressionism in Salesman is not intrusive. Its very refinement of German expressionism lies in its subtlety, in its delicate balance with the realistic moments in the drama. This ever-shifting tension between realism and expressionism allows us to feel the interpenetration of outer and inner forces within the human psyche. The expressionistic devices also elevate Willy’s suffering, for they place it in the context of the natural order. To excise the expressionism is to diminish the rich chord that is Miller’s drama

Maricalum Mining Corporation (MMC)

Maricalum Mining Corporation (MMC) in south Negros. Having 2,673 claims on mining in Barangays Cansauro, Hinablan, Tao-angan and Hinablan, of the towns of Cauayan and Sipalay, Negros Occidental. Actually I had gone into the place and had seen the impact of the mining in the people and to its natural habitat. Especially on Sipalay, I saw dead mountains, white ones. Waters sources and the rivers covered with the area are not portable therefore the people would go to the lowlands to buy fresh water to drink. Crops productions are cut into halves and the villagers experience skin diseases. Poisoning and many fish kills are reported before. People would always complain about the air pollution brought by it causing suspended sandstorms and dust particles. 2. One of the government policies was REPUBLIC ACT NO. 7942 or also known as â€Å"PHILIPPINE MINING ACT OF 1995†. This policy states that the all the private and public mining land are owned by the state. Therefore the government and other private sectors are responsible to the development, utilization and conservation of the place. Protecting the rights of affected communities and limits the land that are available for mining. Section 7, Article X of the constitution provides that LGU or Local Government Units are responsible to protect and co-manage the environment and to enhance the right of the people. Both RA belongs in the EXECUTIVE ORDER NO. 79 created by state.

Bluewater Case Study Essay Example for Free

Bluewater Case Study Essay * Was built on an old quarry – brownfield land. * Employs around 7000 people. * Good disabled access and a range of things to do for all people. * Bluewater makes sure it remains sustainable – it has high operational standards, water usage is measured and controlled, energy is reduced as much as possible, it has a lake and wildlife area to introduce biodiversity, community partnerships, as little chemical use as possible and green transport e.g. buses. * Was built on an old quarry – brownfield land. * Employs around 7000 people. * Good disabled access and a range of things to do for all people. * Bluewater makes sure it remains sustainable – it has high operational standards, water usage is measured and controlled, energy is reduced as much as possible, it has a lake and wildlife area to introduce biodiversity, community partnerships, as little chemical use as possible and green transport e.g. buses. What does Bluewater have to offer? * Over 300 shops, * Over 50 restaurants to eat and drink in, * A cinema, * Boating and cycling facilities, * A mini sports stadium, * Places to cook, read, play on a computer, * Advice centres, * Homework help. What does Bluewater have to offer? * Over 300 shops, * Over 50 restaurants to eat and drink in, * A cinema, * Boating and cycling facilities, * A mini sports stadium, * Places to cook, read, play on a computer, * Advice centres, * Homework help. * Bluewater is an out-of town regional shopping centre – (definition: a shopping centre containing over 50,000 square metres of gross retail area offering a wide range of comparison goods and services) * Bluewater is located in Greenhithe, Kent and is 17.8 miles east south east of London. A fifth of the UKs population are within an hour’s journey of Bluewater. * Bluewater has capacity for 13,000 cars, is close to the M25, has over 60 busloads arrive every hour and has train and coach links making transport links easy. * It is the largest out of town shopping centre in Europe- cost  £350m to build A bit about Bluewater * Bluewater is an out-of town regional shopping centre – (definition: a shopping centre containing over 50,000 square metres of gross retail area offering a wide range of comparison goods and services) * Bluewater is located in Greenhithe, Kent and is 17.8 miles east south east of London. A fifth of the UKs population are within an hour’s journey of Bluewater. * Bluewater has capacity for 13,000 cars, is close to the M25, has over 60 busloads arrive every hour and has train and coach links making transport links easy. * It is the largest out of town shopping centre in Europe- cost  £350m to build Negatives of Bluewater * Because of the amount of people travelling long distances to the site, congestion can be a problem, as well as noise and air pollution. * Although there are many bus links, they are not necessarily all over the country and access may be difficult for those who do not have cars. * Because many people from the area will chose to go to Bluewater rather than local CBDs, these areas begin to lose business and a lot of money. Negatives of Bluewater * Because of the amount of people travelling long distances to the site, congestion can be a problem, as well as noise and air pollution. * Although there are many bus links, they are not necessarily all over the country and access may be difficult for those who do not have cars. * Because many people from the area will chose to go to Bluewater rather than local CBDs, these areas begin to lose business and a lot of money. Bluewater Case Study. (2017, Feb 12).

The Suitability of Visual Representation Essay Example | Topics and Well Written Essays - 1250 words

The Suitability of Visual Representation - Essay Example The legal profession, ideally speaking, is concerned with the truthful administration of justice. Justice means that people are treated fairly and reasonably. The scales of justice are used to portray this image of the legal profession to the public, and perhaps to remind those in the legal profession of their ethical duties to the notion of justice. The scales of justice are simple, and yet they do portray a very powerful message. The scales represent the concept of balance. The image I selected is interesting because there is an obvious imbalance. Perhaps this is to emphasize the presumption of innocence. Perhaps it is in a state of imbalance in order to demonstrate a commitment to freedom and liberty rather than oppression. The burden is on the person claiming a wrong, perhaps the police or a plaintiff in a civil matter, to prove with solid evidence that his claim is valid. This particular scale of justice was taken from the homepage of a defense attorney. His specialty is defending drunken driving cases. This is a very suitable symbol for people under threat of criminal prosecution. The notion of balance seeks to reassure the client and conveys the ideals of the profession. The Windows logo is one that we see almost daily, and even though it is a very simple idea, it is also a very powerful idea. First, technology is always seen as a very futuristic concept. Groups are always trying to improve and innovate. I think this is an excellent logo for Microsoft. The windows themselves are like windows into the future and into knowledge. This logo is telling us that Microsoft is granting us access to information. That is precisely what they create in their business.

Jesus and Gospels Essay Example | Topics and Well Written Essays - 500 words

Jesus and Gospels - Essay Example 2. Jesus used parables to teach his disciples and anyone who wanted to listen because it was the easiest form to talk about theological aspects. The Jews were simple people and enjoyed listening to stories. The parables that Jesus used were supposed to show that He could connect with the world and understood its problems. Many of the parables that Jesus used were culturally relevant for the Jews at that time and so they had a better time understanding them. 3. Before Jesus was born, many Jews wanted the Messiah to come as a military strongman and free them from the Romans, who controlled Israel at that time. Many Jews despised the Romans because they were required to pay taxes to the Caesar. The Jews worshipped at Synagogues on every Saturday. It was here that Jesus first was able to speak to Jews about the reasons why he had come and what he needed to do. The Jewish people were crying out for a savior because the economy was not favorable for Jews and it was dominated by Roman rule. 4. For the immediate years after the death and resurrection of Jesus, His story was passed down through oral tradition. Mark was the first book to be written, around 60 to 70 AD, while Matthew and Luke were written partly based of this book twenty to thirty years later. All of these books were written in Greek. The book of John was written in the late first century and took Lukes Gospel as inspiration. The reason why the first three are called the Synoptic Gospels is because they have much of the same information but told from a different point of view. Unlike John, the Synoptic Gospels include stories from first-hand witnesses. 5. Jesus concept of the Kingdom of God was that it was open to anyone who chose to receive Him. Jesus used many parables to portray the Kingdom of God, including one that said how hard it would be to enter the Kingdom. Although Jesus encouraged good works, He proclaimed that no one could come to the

Materials Engineering Project Research Paper Example | Topics and Well Written Essays - 1250 words

Materials Engineering Project - Research Paper Example This paper has also discussed the different applications of titanium alloys and its limitations in different uses in the modern society. Introduction Titanium alloy is a metal that consists of mixture titanium as the main element and other elements. This is done to achieve high toughness and tensile strength. Generally, alloys have extreme temperature resistance, resistance to corrosion and yet they are light in weight. The process of Titanium Alloying involves the allotropic transformation of pure titanium to the cubic beta phase at very high temperatures of 882.50C (Joshi, 2006). Elements used for alloying normally act as stabilizers at beta or alpha phase. However, by using alloying additions, it is possible to have alpha phase coexisting with beta phase at room temperatures. This is the principle behind manufacture of titanium alloys that can withstand high temperatures during heat strengthening. Titanium alloys are classified into three major groups; beta alloys, alpha alloys an d alpha-beta alloys. Alpha is formed by addition of neutral alloying materials as well as alpha stabilizers such as Sn and Aluminum & Oxygen respectively. Beta alloys on the other hand contain enough beta stabilizers that enable such alloys to retain their beta phase even after quenching. The strength of beta alloys can also be increased through subjecting them to solution treatment and aging. The third category of titanium alloys is beta-alpha alloys that contains both beta and alpha stabilizers thus withstand heat treatments at various degrees. It is important to note that the nature of alloy and stabilizers used greatly influence the heat stability, toughness, tensile strength and other mechanical properties. Production of Titanium Alloys Kroll Extraction Process Titanium alloy is made from Titanium metal and other chemical elements. The main production process for titanium metal is called Kroll process. It involves treatment of the main ore known as rutile with chlorine gas in o rder to get a compound known as Titanium tetrachloride. This compound is then purified and reduced by sodium or magnesium to produce metallic titanium sponge. It is the Titanium sponge that undergoes several alloying process that involve heating and melting to produce Titanium Alloys. In this respect, the purity of titanium resulting from Kroll process is therefore critical for alloying process. According to Leyens & Peters (2003), the purity of titanium Produced depends on the purity of the starting material as well as the parameters and treatments. His is because there are several metallic elements that may cause very undesirable impacts even when they are present in small amounts. Melting Process The second stage in the production of titanium alloys is the melting process. Melting process involves combination of extracted Titanium alloy with alloying elements depending on the type of alloy to be produced. There are about five melting processes: induction Skull melting, vacuum arc remelting, plasma arc melting, Electroslag refines and Plasma Arc melting Process (Joshi, 2006). Melting process begins by blending together alloying elements with sponge followed by hydraulic pressing necessary to produce excellent blocks known as briquette. Apart from sponge, other titanium from scroll process such as scrap or Revert can also be used depending on the quality of the final Titanium Alloy