Philosophy of Action
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Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Action Verbs
ACTION VERBS Accepts To receive as true; to regard as proper, normal, inevitable Accounts To give a report on; to furnish a justifying analysis or explanation Accumulates To collect; to gather Achieves To bring to a successful conclusion Acknowledges To report the receipt of Acquires To come into possession of Activates To mobilize; to set into motion Acts To perform a specified function Adapts To suit or fit by modification Adjusts To bring to a more satisfactory state; to bring the parts of something to a true or more effective position Administers To manage or direct the execution of affairs Adopts To take up and practice as one's own Advises To recommend a course of action; to offer an informed opinion based on specialized knowledge Advocates To recommend or speak in favor of Affirms To assert positively; to confirm Aligns To arrange in a line; to array Allots To assign as a share Alters To make different without changing into something else Amends To change or modify for the better Analyzes To separate into elements and critically examine Answers To speak or write in reply Anticipates To foresee and deal with in advance Applies To put to use for a purpose; to employ diligently or with close attention Appoints To name officially Appraises To give an expert judgment of worth or merit Approves To accept as satisfactory; to exercise final authority with regard to commitment of resources Arranges To prepare for an event; to put in proper order Ascertains To find out or discover through examination; to find out or learn for a certainty -
What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
Free Will Vs. Determinismvs
the case for free will free will Free will and determinism free will vs. determinismvs. against compatibilist free will determinism against incompatibilist free will the case for free will We’ve been discussing the free will defense as a response to the argument free will from evil. This response assumes something about us: that we have free and determinism will. against compatibilist free will But what does this mean? against incompatibilist free will To say that we have to free will is to say that some of our actions are up to us; it to say that, at least sometimes, we have the ability to choose what we do. Is it true that some of our actions are up to us, and that we sometimes are able to choose what we will do? This is the question we’ll be asking ourselves for the next two weeks. Our discussion will involve us considering the three strongest arguments against the view that we have free will. But before doing that it is worth asking why there is any reason to accept the common view that we do have free will. Are there any arguments in favor of the reality of free will? view that we have free will. the case for free will But before doing that it is worth asking why there is any reason to accept the common view that we do have free will. Are there any free will and determinism arguments in favor of the reality of free will? against compatibilist free will There are. The first argument starts with an apparent fact about moral against responsibility: it seems (at least to a first approximation) that we are incompatibilist free will only responsible for actions which we freely perform. -
Ludwig.Wittgenstein.-.Philosophical.Investigations.Pdf
PHILOSOPHICAL INVESTIGATIONS By LUDWIG WITTGENSTEIN Translated by G. E. M. ANSCOMBE BASIL BLACKWELL TRANSLATOR'S NOTE Copyright © Basil Blackwell Ltd 1958 MY acknowledgments are due to the following, who either checked First published 1953 Second edition 1958 the translation or allowed me to consult them about German and Reprint of English text alone 1963 Austrian usage or read the translation through and helped me to Third edition of English and German text with index 1967 improve the English: Mr. R. Rhees, Professor G. H. von Wright, Reprint of English text with index 1968, 1972, 1974, 1976, 1978, Mr. P. Geach, Mr. G. Kreisel, Miss L. Labowsky, Mr. D. Paul, Miss I. 1981, 1986 Murdoch. Basil Blackwell Ltd 108 Cowley Road, Oxford, OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be NOTE TO SECOND EDITION reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or THE text has been revised for the new edition. A large number of otherwise, without the prior permission of the publisher. small changes have been made in the English text. The following passages have been significantly altered: Except in the United States of America, this book is sold to the In Part I: §§ 108, 109, 116, 189, 193, 251, 284, 352, 360, 393,418, condition that it shall not, by way of trade or otherwise, be lent, re- 426, 442, 456, 493, 520, 556, 582, 591, 644, 690, 692. -
CHARACTERIZATION in FICTION HONORS THESIS Presented to The
CHARACTERIZATION IN FICTION HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Jack Reams San Marcos, Texas May 2015 CHARACTERIZATION IN FICTION Thesis Supervisor: ________________________________ John M. Blair, Ph.D. Department of English Second Reader: __________________________________ Twister Marquiss, M.F.A Department of English Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Table of Contents Abstract ................................................................................................................................1 Introduction ..........................................................................................................................2 P.A.R.T.S of Characterization .............................................................................................4 Direct Characterization ......................................................................................................15 Indirect Characterization ....................................................................................................30 Conclusion .........................................................................................................................43 Abstract The purpose of my thesis is to examine the importance of characterization in fiction, as well as the methods of characterization itself. The scope of the paper will be primarily limited to three works of -
THE TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”. -
An Ontological Objection to the Causal Theory of Action
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2018 Actions Are Not Events: An Ontological Objection to the Causal Theory of Action Jiajun Hu University of Tennessee, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Hu, Jiajun, "Actions Are Not Events: An Ontological Objection to the Causal Theory of Action. " PhD diss., University of Tennessee, 2018. https://trace.tennessee.edu/utk_graddiss/5008 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Jiajun Hu entitled "Actions Are Not Events: An Ontological Objection to the Causal Theory of Action." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Philosophy. David W. Palmer, Major Professor We have read this dissertation and recommend its acceptance: Richard E. Aquila, Eldon F. Coffman Jr., Bruce J. MacLennan Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Actions Are Not Events: An Ontological Objection to the Causal Theory of Action A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Jiajun Hu August 2018 Copyright © 2018 by Jiajun Hu. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Introduction to the Paratext Author(S): Gérard Genette and Marie Maclean Source: New Literary History, Vol
Introduction to the Paratext Author(s): Gérard Genette and Marie Maclean Source: New Literary History, Vol. 22, No. 2, Probings: Art, Criticism, Genre (Spring, 1991), pp. 261-272 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/469037 Accessed: 11-01-2019 17:12 UTC 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 [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History This content downloaded from 128.227.202.135 on Fri, 11 Jan 2019 17:12:58 UTC All use subject to https://about.jstor.org/terms Introduction to the Paratext* Gerard Genette HE LITERARY WORK consists, exhaustively or essentially, of a text, that is to say (a very minimal definition) in a more or less lengthy sequence of verbal utterances more or less con- taining meaning. But this text rarely appears in its naked state, without the reinforcement and accompaniment of a certain number of productions, themselves verbal or not, like an author's name, a title, a preface, illustrations. One does not always know if one should consider that they belong to the text or not, but in any case they surround it and prolong it, precisely in order to present it, in the usual sense of this verb, but also in its strongest meaning: to make it present, to assure its presence in the world, its "reception" and its consumption, in the form, nowadays at least, of a book. -
Scriptwriting Theories & Practice
Storyboarding and Scriptwriting • AD210 • Spring 2011 • Gregory V. Eckler Storyboarding and Scriptwriting Scriptwriting Theories & Practice Theories on Scriptwriting Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be interpreted on the basis of other artists’ performance, rather than serving as a “finished product” for the enjoyment of its audience. For this reason, a screenplay is written using technical jargon and tight, spare prose when describing stage directions. Unlike a novel or short story, a screenplay focuses on describing the literal, visual aspects of the story, rather than on the internal thoughts of its characters. In screenwriting, the aim is to evoke those thoughts and emotions through subtext, action, and symbolism. There are several main screenwriting theories which help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying “Screenplays are structure”. Three act structure Most screenplays have a three act structure, following an organization that dates back to Aristotle’s Poetics. The three acts are setup (of the location and characters), confrontation (with an obstacle), and resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts both typically last around 30 minutes, with the middle act lasting roughly an hour. In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach. As most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action.