Macbeth Motifs Essay Example for Free

Macbeth Motifs Essay When it comes down to it, humans are mammals, and there are some animalistic traits that every mammal shares. The story of Macbeth by Shakespeare includes a theme that is the epitome of a trait that all mammals share, weak versus strong. Through the use of metaphors including birds, the symbolism of Macbeth as an owl throughout the story, and the juxtaposition between birds, weak versus strong is represented by the motif of birds in Macbeth. Birds are incorporated into other literary elements that Shakespeare utilizes, showing the true depth of his writing. Metaphors allow the reader to paint a picture of written words referencing images that they are familiar with. Like any other animal, there is a hierarchy of strength and therefore power for birds. The metaphors that Shakespeare incorporates into Macbeth including birds allow the reader to reference their experience with strong birds fighting to create an image of what the humans in the story might have been fighting like. A captain describes how valiantly Macbeth fought in the battles in the beginning of the story, saying that he was â€Å"as sparrows eagles†, which paints a picture of a valiant and strong eagle fighting a small, meek sparrow (1.2.35-42). However, later in the story, when Macbeth’s position shifts and he is no longer perceived as a noble soldier but rather as a tyrannical ruler preying on those he controls, birds are used in a metaphor again to illustrate a changed image of Macbeth. â€Å"A falcon, tow’ring in her pride of place,† representing honor and innocence, â€Å"was by a mousing owl hawked at and killed,† illustrating an evil bird using its strength to overpower and kill an innocent bird (2.4.11-14).Sometimes, a reader does not glean the true meaning of an object in a story until after it has been illustrated throughout the entirety of the work of literature. Throughout the uses of birds in Macbeth, including the imagery and metaphors, a pattern occurs where a powerful owl is preying on weaker birds, and by the end of the story the reader comes to realize that the owl is a representation of Macbeth and the acts he is committing. The owl referenced during the murder of Duncan, is described as an â€Å"obscure bird† that â€Å"clamored the livelong night† as he â€Å"heard i’ th’ air, strange screams of death† (2.3.49-56). The owl in this scene is a symbol for Macbeth discovering what he is capable of, and what new powers he receives when he utilizes his newfound strength against others. One example of how he uses his recent strength was when he decided to have everyone in Macduff’s castle unnecessarily murdered. In this scene Lady Macduff is expressing her anger toward her husband, but also reveals characteristics of Macbeth when she states that her husband is not equal to â€Å"the most diminutive of birds,† which â€Å"will fight, her young ones in her nest, against the owl† (4.2.6-14). Macbeth being represented by the owl in this context depicts him as a villain that is so hungry for control that he will go to such extremes as to attack a weak, defenseless bird and it’s young. Sometimes it is equally as important to illustrate the weak side of a relationship as the strong side because then the contrast between the weak and the strong is magnified for the reader. In Macbeth, Shakespeare utilizes this juxtaposition to make the theme of strong versus weak even more apparent by inserting some descriptions of birds that appear weak to make the acts done by the stronger birds even more horrific. The day before Duncan’s murder where a powerful, evil owl was present, Banquo and Duncan comment on the sweet, innocent birds at Macbeth’s castle, â€Å"this guest of summer, the temple-haunting martlet, does approve†¦that the heaven’s breath smells wooingly here† this illustrates their vulnerability and unawareness to the upcoming strike by Macbeth, making his actions seem even worse. When Lady Macduff tells her son that â€Å"thou’dst never fear the net nor lime, the pitfall nor the gin,† he responds with a question of why he should because â€Å"poor birds they are not set for†, meaning that because he would be such a weak bird, hunters would have no want for him (4.2.36-37). Just after making this point, the defenseless son of Macduff is murdered by the king Macbeth, making the reader question what kind of tyrant Macbeth has come to be. The use of birds in Macbeth by Shakespeare is used to develop the theme of weak versus strong when they are used in metaphors, when Macbeth is represented by a bird throughout the story, and by the juxtaposition of the weak and strong birds. The acts committed by the characters aroused emotions in the audience because they were not so unrealistic that the audience could not relate to them, they represented the mammal in humans, the animal inside of all of us that we attempt to constrain. Birds are essential to create this unsettling feeling because their rustic, animal-like nature is no unlike the animalistic traits we try to hide, which allows the reader or audience to relate with the motif.

Django Unchained (2012) Film Analysis Postmodernism

Django Unchained (2012) Film Analysis Postmodernism Django Unchained (Tarantino, 2012) set in Texas in 1858, deals with a variety of issues such as race, slavery, revenge and violence. The film sparked controversy worldwide and amongst critics. Filmmaker Spike Lee talks about the film during an interview with Vibe magazine: All Im going to say is that its disrespectful to my ancestors. Thats just me. Im not speaking on behalf of anybody else (2012). Tarantino argues that although the film is indeed graphic and brutal, it does not compare to the real-life discoveries and findings from the research into this topic. The film sugar coats the violent happenings, as it leaves out factual gory details: We all intellectually know the brutality and inhumanity of slavery, but after you do the research its no longer intellectual any more, no longer just historical record you feel it in your bones. It makes you angry, and want to do something Im here to tell you, that however bad things get in the movie, a lot worse shit happened (Child, 2013). Django Unchained is a gruesome depiction of what life as a slave was like during 1858 pre-civil war Texas, as well as a glimpse of existence outside the slave industry such as in Dr. King Schultzs (Christoph Waltz) case or the wealthy Calvin Candie (Leonardo DiCaprio). It is a highly entertaining film which simultaneously disturbs and thrills, while also incorporating a healthy dose of humour throughout. The purpose of textual analysis is simply to critically analyse a piece of cinema. As a research method, it can be used to deconstruct the aim or overall meaning of the film. Focusing on elements such as narrative structure, exposition, narrative voice and editing is important when using textual analysis. Mise-en-scene, setting, colour, tone, costume, props and lighting all play important roles in the examination process. A textual analysis approach allows the text to be thoroughly studied, for example, looking for patterns/relationships, finding the key/central themes and symbolic significance, as well as the ways in which the audience engage with the text, for instance, if an audience feel sympathy or pleasure towards a certain part of the film. Monaco discusses the importance of visuals, describing that it is useful, even vital, to learn to read images well so that the observer can seize some of the power of the medium (2000, p.159). I intend to examine the ways in which Django Unchained can be viewed as a postmodern text. Postmodernism is a critique of modernism, the idea that there is no set genre or structure; no absolute truth: Post-Modernism is fundamentally the eclectic mixture of any tradition with that of its immediate past: it is both the continuation of Modernism and its transcendence (Jenks,1996). Jean Baudrillard talks about simulation, simulacra and hyperreality. Baudrillard argues that the audience live in an artificial world, drawn in by images and media; this is not reality and leads to hyperreality: Images are no longer the mirror of reality, they have invested the heart of reality and transformed it into hyperreality, where from screen to screen, the only aim of the image is the image. The image can no longer imagine the real because it is the real; it can no longer transcend reality, transfigure it or dream it, since images are virtual reality. In virtual reality, it is as if things had swallowed their mirror (Zurbrugg, 1997, p.12). Disneyland is an example of this as the fine line between reality and fantasy is unclear. Postmodern cinema contains a variety of features such as intertextuality, non-linear narratives, referentiality and pastiche. Frederic Jameson talks about the importance of pastiche in postmodern films: Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parodys ulterior motives, amputated of the satiric impulse, devoid of laughter (Jameson, 1991). Django Unchained demonstrates features of postmodern theory and this is often the case with Tarantinos work, as described by Rehling: Tarantino is generally considered the postmodern filmmaker par excellence due to his penchant for intertextual allusions (2010, p.203). The film follows the story of a bounty hunter (previously employed as dentist) Dr. King Schultz, who is searching for a trio of men named The Brittle Brothers. Schultz understands that Django (Jamie Foxx) is familiar with the brothers as he was once a slave to them, and realizes he must free Django for him to assist Schultz on the journey. Schultz mentors Django, and offers to pay him for his services while helping Django to live as a free man. The pair begin finding and killing various wanted men. Django explains he wishes to rescue his wife Broomhilda Von Shaft (Kerry Washington), and is determined to find her. Schultz agrees to help Django on his mission to release Broomhilda, who they later discover is a slave of Calvin Candie at his plantation CandieLand. The two men begin their journey to CandieLand and adopt a strategy in the hope to free Djangos wife. The film has been described as a spaghetti western due to the amount of violence involved as well as a Blaxploitation film. The main hero of the film is Django, a black character, and this contrasts with other 19th century Western movies where the central hero is often white, such as John Waynes character in The Searchers. It is also uncommon for a German character to be shown as the hero in this film genre. Djangos main goal is to locate and save Broomhilda from the slave trade. Although the film is violent in nature, comic relief is used throughout, for example, when Broomhilda faints at the sight of Django after he says Hey little troublemaker, to which Schultz replies you silver tongued devil, you. Pastiche is apparent when the Klansmen are preparing for a raid. The men bicker over the quality of the masks provided for them and this allows the spectator to laugh or poke fun at the characters. Humour is used as a tool to help the audience cope with gory imagery and the overall neg ative themes. Hyperreality is evident in Django Unchained as the film mimics a fictional world. Schultz tells Django about the famous German myth concerning a princess named Broomhilda who is held in captivity by a fierce dragon, until she is finally saved by her hero. This relates to Djangos main objective to free his wife and adds to the fairy-tale notion. Calvin Candies estate is referred to as CandieLand which has rather positive connotations however the harsh reality is that CandieLand is where Broomhilda and other slaves are kept as prisoners. Another aspect of postmodernity within Django is the intertextuality used, such as the reference to other films. The 1966 film Django is referenced firstly with the films title and actor Franco Nero (1966 Django) plays a cameo role. During Django and Schultzs time within the Candie mansion, Nero asks Django how he spells his name. Django replies that the letter d is silent, to which Nero replies, I know. It then becomes evident why Neros character is i mportant and his presence may spark curiosity in the viewer. In addition, Broomhilda Von Shaft is a reference to the Blaxploitation film Shaft. The soundtrack within the film is somewhat mismatched, combining a variety of different genres, and this seems unusual due to the historical period when Django is set. Costume design stands out greatly, especially during the scene were Schultz encourages Django to pick his own clothes. His first freedom outfit is extravagant and the blue suit imitates to the famous painting The Blue Boy (Gainsborough, 1770). This mimicking effect encourages a postmodern feel, and the notion of bricolage or that nothing is infinite; everything in existence is a copy of itself. Gender in cinema is significant and Django Unchained represents gender in different ways. Laura Mulvey (1975) talks about the male gaze: The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness (Mulvey, 1975, p.62). Mulveys theory can be applied to Django Unchained as the female characters do not have demanding roles or are depicted as damsels in distress. Mulvey talks about woman as image, man as bearer of the look (1975, p.62) implying the notion that female characters are admired by a male audience solely down to their physical appearance. The male characters keep the film moving forward as Django and Schultz lead the story, while supporting males are crucial to the plot such as Calvin Candie and Stephen (Samuel L. Jackson). The viewer may appreciate the visuals provided by the female however can relate more to the male characters: Voyeuristic visual pleasure is produced by looking at another (character, figure, situation) as our object, whereas narcissistic visual pleasure can be derived from identification with the (figure in the) image (Smelik, 2001, p.9). Throughout Django, the female image is displayed in soft lighting, encouraging a sense of beauty and romanticism. During these moments, for example, the hallucinations Django has of Broomhilda, the viewer appreciates the imagery and momentarily shifts away from the narrative, as the female characters appearance tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation (Mulvey, 1975, p.62). Although Broomhilda is incredibly important to Django, her character alone is not of importance. We witness Broomhilda being whipped and beaten however it seems we are not so concerned about her wellbeing but more so the way in which this affects Djangos actions. There is an underlying notion that the women in the film are the property of the male characters (Broomhilda belongs to Django, Lara Lee (Laura Cayouette) belongs to Calvin Candie, etc.). The female characters have little dialogue compared to the male characters, implying the idea that they should be seen and not heard. It can however be argued that Broomhilda is strong and independent, due to the fact she has endured endless torture and suffering since Django has been apart from her. In addition, she has attempted to escape CandieLand without the help of Django. Mulvey describes female objectification: Woman displayed as sexual object is the leit-motif of erotic spectacle: from pin-ups to strip-tease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire (1975, p.62). At CandieLand, Schultz asks for alone time with Broomhilda due the fact she is fluent in German. Django had predicted earlier that she was being used as a comfort girl (a slave for sex). There is the suggestion that Schultz is expecting a sexual encounter with Broomhilda and this view is held by everyone at CandieLand aside from Django. It becomes apparent that the women are sexual objects for men and this should not be questioned but rather expected. Schultz realises that if he does not pretend this is indeed his intention with Broomhilda, there may be suspicions about him and Djangos presence. We see Broomhilda being removed from the hot box, as she is naked and continues to scream. This contrasts with the next time Broomhilda is seen; she has been dressed up to appear beautiful and presentable for Schultz emphasising the idea that her purpose is only to be looked at and her performance from earlier is unacceptable. Lara Lee is shown in a similar way, as she often appears doll-lik e and attractive, wearing elaborate dresses. She acts elegant and polite around the male characters, as though to impress them. Laura Lees behaviour relates to the idea of fetishism and the notion of these women being hyper-polished: Fetishizing the woman deflects attention from female lack and changes her from a dangerous figure into a reassuring object of flawless beauty (Smelik, 2001, p.11). Sadism is introduced in the film; this is the belief that the woman should be punished or forced to seek forgiveness within the narrative. An example of this is during the scene when Broomhilda is asked to undress and reveal her scars to the group of men in the room. Candie is determined to remind Broomhilda of her place at CandieLand, ensuring she and those in the room understand that Broomhilda belongs to him. He has branded her physically with these scars, and she has evidently been punished through such torture. She is also continuously being punished through the fact she must show herself to these men. Once Djangos identity is discovered, he wakes up to realise he has been tied upside down. A man enters, explaining he is to be castrated using a hot knife. This scene stands out as the man reveals he has received these orders from Lara Lee. This highlights male fears around the female presence; the woman is viewed as a danger or threat as well as male anxiety regarding castration. Classic cinema solves the threat of castration in one of two ways: in the narrative structure or through fetishism (Cook Bernink, 1999, p.354). The black male characters are objectified in Django Unchained, for example, during the Mandingo fighting scene. Candie demands these black slaves to fight one another, for his own pleasure. The men are dressed with little clothing and like the females, do not have any dialogue in the film nor are they given names. They are simply there to be looked at; for Candie to witness them fighting. The men often grunt throughout, implying the notion that they are animals or beasts used only to fight, as though they are being trained like dogs, which also dehumanizes them. The audience observe the fight from Candies objectifying point of view with minimal flashes of Django or Schultzs reactions, to restore the understanding of how cruel this act is. Within Candies dining room, a marble statue of two naked men fighting can be seen. Once Schultz meets Broomhilda and explains the escape plan to her, Django appears at the door however he is filmed in a seductive manner. The camera begins at Djangos feet and slowly moves upwards, scanning over his entire body. This allows the viewer to look at Django and examine him closely before dialogue is heard, and technique is unusual as it would normally be used for a female character: There is, in other words, a specific and even ritualized form of male objectification and eroticization in Hollywood cinema (Weems et al., 2010, p.83). There may be a somewhat homoerotic relationship between Candie and his loyal and oldest house slave Stephen. Stephen always supports Candie and appears desperate to please him or win his respect. Stephen is not afraid to disagree or argue with Candie, which is evident when Django arrives and Stephen is appalled that he has the same rights as a white man. Candie states that he grew up in a house full of niggers, which portrays that Stephen has perhaps raised Calvin and a further reason behind their closeness. Within CandieLand, Stephen has not suffered or been tortured in the same way other slaves have, and thus sees Django as a threat to his position. It can be argued that Stephen may be suffering from Stockholm Syndrome or has simply become brainwashed as his life at CandieLand is all he has ever known. To conclude, Django Unchained is a well written film which deals with an array of issues throughout. The film is evidently postmodern in nature, as it presents aspects of postmodern theory such as intertextuality. It can be argued that Mulveys argument relating to the male gaze is apparent due to the representation of female characters in Django, and the way in which they differ from the male characters, for example, having little dialogue or action/purpose within the films narrative. Male objectification however also manifests itself in Django, and thus the sexualisation of both genders is noticeable. References Bealer, T. (2013) Did Quentin Tarantinos Feminism Take a Step Backwards in Django Unchained? [Online] Available: http://www.genderfocus.com/2013/01/07/did-quentin-tarantinos-feminism-take-a-step-backwards-in-django-unchained/ [Accessed: 9 March 2017]. Child, B. (2012) Django Unchained Wins Over Black Audience Despite Spike Lee Criticism. The Guardian. 3 January. Available: https://www.theguardian.com/film/2013/jan/03/django-unchained-spike-lee [Accessed: 8 March 2017]. Cook, P. and Bernink, M. (1999) The Cinema Book. 1st ed. London: British Film Institute. Doyle, H. (2010) Gender, Sadism, and Masochism in the Works of Wilkie Collins. [Online] Available: http://vc.bridgew.edu/undergrad_rev/vol6/iss1/34 [Accessed: 7 March 2017]. Gainsborough, T. (1770) The Blue Boy. [Oil on Canvas 178 x 112cm] Henry E. Huntington Art Gallery, San Marino. Haastrup, H. (2014) Storytelling Intertextuality. Film International. Vol.12(1), pp.85-97. Jameson, F. (1991) Postmodernism, Or, The Cultural Logic of Late Capitalism. 1st ed. Durham: Duke University Press. Jencks, C. (1996) What Is Post-modernism? 4th ed. Michigan: Academy Editions. Monaco, J. (2000) How to Read A Film. 1st ed. New York: Oxford University Press. Mulvey, L. (1975) Visual Pleasure and Narrative Cinema. Screen. [Online] Vol.16(3), p.62. Available: https://www.asu.edu/courses/fms504/total-readings/mulvey-visualpleasure.pdf [Accessed: 9 March 2017]. Rehling, N. (2010) Extra-Ordinary Men. 1st ed. Lanham: Lexington Books. Smelik, P. (2001) And the Mirror Cracked. 1st ed. Basingstoke: Palgrave Macmillan. Tarantino, Q. (dir.) (2012) Django Unchained. [DVD] The Weinstein Company. 166 mins Weems, C., Berger, M., Wallis, B. and Watson, S. (2010) Constructing Masculinity. 1st ed. New York: Routledge, p.83. Zurbrugg, N. (1997) Jean Baudrillard, Art and Artefact. 1st ed. London: Sage.

societhf Seclusion from Society :: Adventures Huckleberry Huck Finn Essays

Huckleberry Finn – Seclusion from Society Imagine the amount of freedom one feels as they drift down a river voluntarily stranded on a raft. The thought of it is relaxing to the mind, but actually experiencing it for yourself is a whole new happening. The freedom, no worries, no sounds but the noise of the river water rushing and the sounds of boat horns off in the distance. In Mark Twain's novel The Adventures of Huckleberry Finn, the author effectively symbolizes the river as a place outside of society. In the novel, The Adventures of Huckleberry Finn Twain uses the river as an escape from society for the characters Huck and Jim. Twain is showing examples of his own life through the character Huck. The reason for saying this is that Twain had grown up amongst many rivers in his life time, including "a New York town named Riverdale which is now a part of the Bronx, New York City's northernmost borough, Riverdale was a separate residential community when Mark Twain rented a house there in 1901."(Rasmussen, 391) Twain loved the water so much that he piloted many steamboats on the Mississippi River. The last steamboat on which Twain worked as a pilot was the "Alonzo Child." "The Alonzo Child was a 493-ton side-wheeler, the Child was built in Jeffersonville, Indiana for the Missouri river trade around 1856" (Rasmussen, 8). This is an example of how Twain lived by many rivers and how Twain used the river to get away from society. In Twain's novel the character Boggs shows an excellent example of someone who is lost and uses seclusion as an escape from society. "In chapter twenty-one, Huck is idling in the scruffy village of Bricksville, when Boggs charges in on a horse during his monthly drunk. A red faced man in his in his fifties. Boggs rides about wildly hurling insults and threats proclaiming that he has come to kill Colonel Sherburn."(Rasmussen, 39) This shows that people don't give him as much respect as he would like because when he gets drunk he acts very irresponsible and he is a bad role model. There for Boggs secludes himself to his home to hide his embarrassment.

Past, Present, and Future of State University :: Argumentative Essays

Past, Present, and Future of State University The structure and workings of the university are ever changing. The university of the past is not like the university of the present and the university of the present will not be like the university of the future. This â€Å"adaptation† to the times is what can make some universities great or make some universities among the worst in the nation. In the past the university was very set in their ways. They did things the way they wanted them done. They paid no heed to the rest of the society and the way the ones paying the bills wanted them done. In the past the professors would lecture endlessly to the students. This endless lecturing often left the students bored and with no idea what was really said to them in the lecture. This is no way to try and teach students, students need interaction with the professors that are paid to teach them. As Paulo Freire believed there needs to be communication between the students and the professors and the class should not be totally memorization. Freire also believes that when the professors are active and the students are passive there is no learning there is only memorization. This is the way that things were done in the past. All classes were based on memorizing the material with no interaction. When all you do is memorize you do not put the material to use you just remember it for a short time and then you forget it forever. Freire says that when the teachers are rated on how well the student memorize the material, they are just passing the students on ignorance. The university should also teach the process of critical thinking not just how to learn facts. In the present many universities have either changed or are changing the way that they run their university. The universities now are taking on many of the beliefs of the major educational philosophers in order to make changes in the teaching methods. Universities are breaking down many of the divides between majors that they offer. By breaking these barriers the universities are becoming less specialized and more diverse. This goes along with the ideas of Berry.

Animal Belief :: Philosophy Language Papers

Animal Belief If Mary believes a bone is on the lawn, then she literally believes that, though her belief may be mistaken. But, if her pet Fido rushes up to what is in fact a bit of bone-shaped plastic, then Fido does not believe that there is a bone on the lawn. However, the best explanation for Fido’s behavior may be that he initially believed there was a bone on the lawn. Unless we are methodological or analytical behaviorists, the claim that we can best explain the behavior of dumb animals by treating them as if they literally held beliefs (and desires) subject to various rationality constraints is hardly surprising. I argue that this instrumentalism does not support the realist view that dumb animals are literally to be credited with beliefs. In particular, I focus on Davidson’s argument that a creature can have beliefs only if it can be the interpreter of the speech of another. Davidson’s argument, which has not won wide acceptance, is the most subtle examination to date of the relation between belief and language. I examine the premises of his argument, indicate two major criticisms, and attempt to defend his conclusion that dumb animals lack beliefs by adducing supporting arguments. This paper is concerned with the problem of whether non-language-using creatures literally have beliefs, rather than with the question as to whether it is predictively useful to ascribe beliefs to them. The answer to this latter question is plainly in the affirmative. The issue of belief-attribution to dumb animals is a narrow form of a more general problem, the problem of whether dumb animals can literally be credited with thoughts. Still, it is reasonable to focus on the case of belief since it lies, as it were, at the centre of the cognitive domain. The attribution of any intentional state, such as desire, regret, hope and so on, to a creature presupposes the attribution of belief to that creature. I Like many other philosophers, I will kick off with a brief discussion of Descartes’ views which many find wildly implausible. Descartes believed that dumb animals could not be credited with beliefs because he thought they were mindless machines: dumb animals behave as if they feel fear, as if they believe various things, etc., but the truth is that all of the cases where we are inclined to ascribe psychological states to them, can be redescribed solely in terms of internal physiological processes set in motion by mechanical causation.

Family Education Essay

Good morning, ladies and gentlemen. It is my pleasure to be here to give you a presentation. First of all, I have several questions for all of you. (PPT) How much do you know about your children? (Is there any teacher would like to share some ideas?) As for students, do you communicate with your parents often? Can you talk like close friends? Well, your answers can be quite different as your parents from distinct backgrounds have their own means of parenting. So today,(PPT) I am going to talk about family education, something important during our early age and may influence us a lot in future’s life. Particularly, I will compare family education between western families and Chinese households to highlight some significant factors. First of all, I found a macroscopical view about the obvious difference between Chinese and western family education on the internet (PPT) that said everything is provided for kids in China and parents advocate free development in western countries. Since it states only part of the picture, now let’s enjoy a small performance carried out by my classmates, which may give you an impressive and clear sight of what the difference actually is. (PPT)This is a situation that shows the reaction of parents from China and a western country respectively when their kids plan to do a wild adventure. (PPT) Well, now I hope you all can have this sort of feeling after you enjoy the show, (PPT)that the purposes of parenting is definitely the same around the world. Whereas, different instructive concepts and approaches create the distinguishing circumstances for children to grow up. (PPT) So, I am going to explain the difference in three main aspects as I suppose: (PPT) the extent that parents respect and value children’s self-will; the protection that parents offer to their kids; and the styles of communication between parents and children in daily life. (PPT) In the first place, western parents are relatively more democratic and care more about the development of children’s personalities and thoughts. However, they may neglect those enticing affairs which might mislead the young kids. In contrary, Chinese parents want their kids to grow up in the way they set for their children. In this case, kids seem to have no opportunities to try  those things they may have more interests and talents in. (PPT) Secondly, many parents in China are against kids doing things with danger, because they are afraid of children getting hurt to affect their physical growth. But in western families, parents are likely to encourage kids to meet challenges and experience adventures, as well as give children enough space to cultivate their independence. (PPT) Thirdly, while western parents usually talk to their children like friends or colleagues, with sharing their opinions to expand kids’ own ideas and teach them how to think, some Chinese parents are confused about the ways communicating with their children. They desire their kids to understand and even support their educating methods without realizing that their children may have already been weary about the parenting. Well, have you gained something new about the difference between family education in China and western nations from above description? (PPT) I want invite you to witness the change of parents’ attitudes from China and that western country toward the situation we mentioned at the beginning of my presentation. Welcome my classmates again. Thanks them very much for enriching my speech.(PPT) Well, I believe that a conclusion may be came out now, that the successful family education can be the result of cultivation of one’s morality and positive attitude toward life. (PPT) What is more, whoever Chinese parents or western parents should both pay more attention on building the equal and closer relationship with their children, as well as treat them as special individuals, then the kids are likely to have a better opportunity to grow up in this kind of atmosphere. (PPT) Overall, I’d like to add that if we are more creative and optimistic, there will be a wonderful future for all of us.

Aristotle the Great Philosopher Essay

Aristotle was one of the most profound philosophers of all time. He was a pupil of Plato; he adapted many of Plato’s concepts into his own. Aristotle follows in the footsteps of Plato and Socrates idea of taking the virtues to be vital in a well-lived life. Based on the precise nature, true happiness can be found. In this paper, I will discuss Aristotle’s beliefs of human good and human flourishing. Aristotle’s most influential work was Nichomachean Ethics. No one is quite sure where Nichomachean Ethics originated from; they assume it is either, a combination of lecture notes from Aristotle or his students. He believes that every human activity aims at some good; every human activity aims at some end. He believes that good equals end. Aristotle refers to good as being the object of an action. He believes people should be goal oriented no matter if the goal is morally good or bad. Aristotle thought that human actions are not haphazard, random, gratuitous, and purposeless. Otherwise, they’re relevance is the distinguishing mark of human rationality, as opposed to the instinctive ness of animal conduct or an unintentional sequence of natural events. He believes that humans seek rational means to attain their goals. (Zunjic, Books 1 & 2) Aristotle was born in 384 BCE and later died in 322 BCE. He grew up in Stagirus, which was a small Greek colony. His father was a physician to King Amyntas of Macedonia. The Macedonia Court would influence Aristotle’s life, greatly. Aristotle’s father died while he was still a child. His guardian, Proxenus, sent him to Athens. While in Athens, he became a pupil of Plato; he attended Plato’s lectures for twenty years. He then began to lecture himself, particularly about rhetoric. (Aristotle’s Biography) After Plato had died, Aristotle may have become the leader of the Academy, except his differences in teaching. They gave the leadership role to Plato’s nephew, Seusippus. Aristotle then left Athens and went to a different court. He married Pythias and then a short while after he moved to the island of Lesbos. Some years later, Aristotle was invited back to Macedonia by the King to tutor the young Alexander. Their ideas differed, which lead to an interesting relationship. (Aristotle’s biography) Aristotle taught and managed the Lyceum for twelve years, producing, during this time, his lecture notes. Only a small amount of Aristotle’s works had survived over the years. Aristotle’s works included all the major areas of thought: logic, science, metaphysics, ethics, and politics. He developed a new theory of form that differed from Plato, created a system of deductive reasoning for universal and existential statements, and produced a theory of the universe, matter, life, and mind. (Aristotle’s Biography) Aristotle expanded his knowledge significantly when he studied under Plato, if his guardian had not sent him to Athens he probably would have never studied under Plato. Though Aristotle learned a lot from Plato, his ideas also differed greatly, and he was a great thinker all on his own. Aristotle might not have been the great philosopher that he is without the guidance of Plato. â€Å"Aristotle’s style of lecturing involved walking around in in covered walkways, for which reason Aristotle was called ‘Peripatetic’ meaning walking around. † (www. about. com) Greek influences helped shape what Aristotle believed. His education under Plato was also a huge influencing factor. He believed that there were only two causes in the universe: form and matter; form and matter leads to intelligence. Aristotle was a firm believer that education and morality went hand in hand with each other. He thought it was the duty of the state to produce well rounded citizens who would lead good lives. The realization of oneself is the main way to reach goodness. Aristotle has been recognized as one of the greatest philosophers of all time. He has had essential time working with other top philosophers of his time. Years after his death, people still learn and adapt his beliefs. Aristotle was a teleologist, meaning, he believed that all existing things have a purpose. Aristotle was way ahead of his time, in his thinking. Many of the ideas he had were completely baffling to others around him. They still take a great deal of thought to grasp what he means but it is worth examining. Aristotle believes in instrumental goods and self-sufficient goods. Multiple instrumental goods are needed to achieve ourselves; they include health, friendship, wealth, knowledge, and virtue. The ancient Greek word for virtue is, ‘Arete’ meaning excellence. The excellence a person demonstrates when acting towards virtue. Virtue, when practice, begins to make us who we are. Aristotle believes that virtue must be practice habitually, so that everyone has the capacity to perfect their own character. (Aristotle Ethics Podcast 1) He believed that every idea can be traced back to the very beginning. This is known as finite regress: finite, meaning an end, and regress, meaning to trace back. Objects of thought can be traced back to the very beginning; many consequences lead to the knowledge of the object of thought. He thought that the idea in your head can be traced back, because the idea in your head is a product of everything else, even what people earlier had in their head. Once the thought reaches the corner stone, you cannot go any farther, showing it has one clear beginning. He does not believe in infinite regress that would mean there would be no defined order. (Aristotle Ethics Podcast 2) Aristotle was not concerned with his own good but, rather, the good for all humans. He called this good, eudaimonia, meaning happiness. Eudaimonia serves as the one, final self-sufficient good. He did not believe happiness was just a feeling; he believed it was also a way of living. Many have adapted this idea as human flourishing. Human flourishing involves achievement of excellence. He believes that everyone aims at some good, but different people have different ideas of what good is. The product of the activity should be better than the activity, says Aristotle. The end is the achievable good. (Kessler, 80-87) Aristotle’s beliefs can be used to view life today. His ideas of what a good is and how to reach human flourishing influence life today. When examining any thought, it is almost possible to try and trace it back to where it originated. Aristotle showed that everything has a clear beginning and end, and that everyone should try to have a life full of virtues. Aristotle’s ideas influenced many other philosophers for years after his time. He was a great influence on medieval scholasticism: much of the Roman Catholic theology shows his ideas of teleology. It was also a big influence to biology; but it was banished from physics by the scientific revolution. Aristotle is a firm believer that happiness is the most important thing in life. Ethics was the main topic Aristotle focused on, the difference between what is a right or wrong, good and evil, rule and virtues, character and vice, success and happiness. Works Cited â€Å"Aristotle – Greek Philosopher Aristotle. † About. com Ancient / Classical History. N. p. , n. d. Web. 02 Dec. 2012. . â€Å"Aristotle of Stagirus – Biography. † Aristotle. N. p. , n. d. Web. 29 Nov. 2012. . Flip4Learning. â€Å"Aristotle’s Ethics (Part One). † YouTube. YouTube, 04 Mar. 2012. Web. 03 Dec. 2012. . Flip4Learning. â€Å"Aristotle’s Ethics (Part Two). † YouTube. YouTube, 04 Mar. 2012. Web. 03 Dec. 2012. . â€Å"Nicomachean Ethics. † Nicomachean Ethics. N. p. , n. d. Web. 29 Nov. 2012. . Kessler, Gary E. Voices of Wisdom: A Multicultural Philosophy Reader. Belmont, CA: Wadsworth, 2010. Print.