Friday, December 27, 2019

Comparison Of The Bet And The Necklace - 2011 Words

â€Å"The Bet† written by Anton Pavlovich Chekhov (1889) and â€Å"The Necklace† written by Guy de Maupassant (1884) are both stories that have a life-changing experience, also good life lessons. (â€Å"The Necklace is about a wife and a husband who have different perspective about life itself, but the wife (Madame Mathilde Loisel) ask to borrow a beautiful necklace from a friend and loses it, now she has to give the necklace back, so she and her husband (Monsieur Loisel or Madame Forestier) buys a new necklace, what will they do after that. The Bet is something of itself, there is The Banker and The Lawyer and they both are young adults that do what dumb young adults do, bet on something they will probably regret. They bet on whether death or life in†¦show more content†¦But dont worry Monsieur Loisel is a genius and suggest that she should ask her friend for jewelry because of, the rich got to have some sort of valuable jewelry, even if it a cherry ring po p will do. Madame go to her friend and ask for a piece of jewelry, she does say yes and allow her to borrow a booty, Madame doesnt like what she sees so far but one catch her eye, a necklace. She requests if that one can be borrowed, her friend says yes, now that she ready Monsieur Loisel and Madame go to the dance and have a blast, she thinks that everyone looking at her and happy how others think of her. When Monsieur and Madame leave and walk down the street, she tries to feel the necklace, but vanished! She panicked as Monsieur tried looking for it, they fail and try to think of what to do. So they think of replacing the necklace with a similar looking one, but the replica, cost 36,000 francs, same amount in U.S dollars, but cant buy up front, what do they do, paying it once in a while. The dept lasted 10 harsh years for Monsieur and Madame, they risked their lives, shot the self in the foot basically and when finished. 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Thursday, December 19, 2019

Descartes and HisThoughts Regarding Dreams Vs Reality

In first mediation Descartes ponders on the idea of what is real and what is a dream; he concludes that anything thing he can doubt is false and therefor a dream. After establishing the existence of the dream world he tries to figure out who is responsible for tricking him into this false world. He ponders on the idea that God could be responsible for tricking him, but quickly disregards that assumption believing that God, who represents everything that is good, could not deceive him; and concludes that is has to be a faulty demon who is tricking him. In the second meditation he ponders on his own existence, after assuming the existence of the dream world and the evil demon trickster in the first meditation. By the end of the mediation he determines that no matter what the demon does to trick him into doubting his existence, at that moment when he thinks he knows that he exists. By the third meditation he is certain of two things first there is a dream world that is controlled by a d emon, and second he knows that he exists. In the third mediation he ponders on the existence of god; and Descartes ultimately achieves that god exists because he has this idea of a prefect being that he did not learn about or imagine so this idea of god was put in him by a superior perfect being. That brings us to the fourth meditation where Descartes tries to figure out why do we have faults and make wrong decisions, errors. By this point Descartes know a few things to be certain first he

Tuesday, December 10, 2019

Of custom and education Essay Example For Students

Of custom and education Essay Mens thoughts, are much according to their inclination; their discourse and speeches, according to their learning and infused opinions; but their deeds, are after as they have been accustomed. And therefore, as Machiavel well noteth though in an evil-favored instance, there is no trusting to the force of nature, nor to the bravery of words, except it be corroborate by custom. His instance is, that for the achieving of a desperate conspiracy, a man should not rest upon the fierceness of any mans nature, or his resolute undertakings; but take such an one, as hath had his hands formerly in blood. But Machiavel knew not of a Friar Clement, nor a Ravillac, nor a Jaureguy, nor a Baltazar Gerard; yet his rule holdeth still, that nature, nor the engagement of words, are not so forcible, as custom. Only superstition is now so well advanced, that men of the first blood, are as firm as butchers by occupation; and votary resolution, is made equipollent to custom, even in matter of blood. In other things, the predominancy of custom is everywhere visible; insomuch as a man would wonder, to hear men profess, protest, engage, give great words, and then do, just as they have done before; as if they were dead images, and engines moved only by the wheels of custom. We see also the reign or tyranny of custom, what it is. The Indians I mean the sect of their wise men lay themselves quietly upon a stock of wood, and so sacrifice themselves by fire. Nay, the wives strive to be burned, with the corpses of their husbands. The lads of Sparta, of ancient time, were wont to be scourged upon the altar of Diana, without so much as queching. I remember, in the beginning of Queen Elizabeths time of England, an Irish rebel condemned, put up a petition to the deputy, that he might be hanged in a withe, and not in an halter; because it had been so used, with former rebels. There be monks in Russia, for penance, that will sit a whole night in a vessel of water, till they be engaged with hard ice. Many examples may be put of the force of custom, both upon mind and body. Therefore, since custom is the principal magistrate of mans life, let men by all means endeavor, to obtain good customs. Certainly custom is most perfect, when it beginneth in young years: this we call education; which is, in effect, but an early custom. So we see, in languages, the tongue is more pliant to all expressions and sounds, the joints are more supple, to all feats of activity and motions, in youth than afterwards. For it is true, that late learners cannot so well take the ply; except it be in some minds that have not suffered themselves to fix, but have kept themselves open, and prepared to receive continual amendment, which is exceeding rare. But if the force of custom simple and separate, be great, the force of custom copulate and conjoined and collegiate, is far greater. For there example teacheth, company comforteth, emulation quickeneth, glory raiseth: so as in such places the force of custom is in his exaltation. Certainly the great multiplication of virtues upon human nature, resteth uponsocieties well ordained and disciplined. For commonwealths, and good governments, do nourish virtue grown, but do not much mend the deeds. But the misery is, that the most effectual means, are now applied to the ends, least to be desired.

Tuesday, December 3, 2019

Music In Education Essays (868 words) - Human Communication

Music In Education MUSIC IS EDUCATION THESIS STATEMENT Music in education is essential to our children because it increases their listening skills and is a common method of communication for cultures worldwide. Music is Education There are schools attempting to eliminate teaching musical arts to our children. The board of education claims they must provide education by concentrating on the basic academic courses, but what they don't realize is that music is a major part of basic education. We must not allow them to pull the teaching of music out of our school curriculums because music is an essential form of communication. Our children do not have to be fluent in the arts to receive the value of broad exposure to the different musical dialogues. Deprivation of a very valuable part of education occurs if we do not teach them to appreciate a wide variety of music. Metaphorically speaking, we often associate the terms language and grammar with the term music. This association leads us to believe that music is a form of language, possibly because no symbol system other than language has the same potential as music of infinite productivity and precision. It takes a multitude of directions and phonetic-type symbolism to produce a pleasant sounding musical composition. This relates very closely to the requirements of everyday language. The primary objective of any spoken language is to convey a person's thoughts in a comprehensible fashion, but we must remember that everyone thinks and comprehends everything differently. Musical language contains vast quantities of words to help people understand how original composers intended to play a specific piece. Musical language also has directions that allow and encourage some scope of original interpretation and minor departures from the written score, resulting in no two performances sounding exactly alike. The English language, as we know it, carries a very strong parallel to these same interpretable words. Dialect and slang are just two of the many connotative forms to speak different languages. All languages contain these variations and reinforce the need for striving toward understanding a basically generic language. It would be very difficult to speak to a non-English speaking person and clearly convey a message unless both persons were familiar with basic terminology. It would be just as unlikely to communicate a musical message to someone not educated or interested in musical interpretation. The term music in itself has many different connotations. One in the United States may not have the same perceptions as one whose origin is France or Australia, or elsewhere in the world. In my travels through Europe and South America I had a hard time finding any truly original, locally produced music. The majority of the music I searched through were also popular in the United States. It was very easy to find foreigners singing an American song using their interpretation of our language. The entire world seems to be able to communicate with music and seems to understand it enough to share their own musical interpretation. Music is a language of it's own and depending on how we speak it, it too can accomplish a multitude of results. People are no more able to understand a foreign language without education than they are to understand the unspoken language of music without proper musical education. A single score of music interpreted with a few of many available musical directions can tell as many stories as there are variations. For example, playing Cristofori's Dream by David Lanz entirely lento-pianisimo (slow and very soft), creates a very peaceful and tranquil mood. Played again allegro-forte (lively, brisk, and loud), emits an uplifting feeling. Yet, by using both interpretations progressively and regressively within this identical musical score, one could feel depleted and elated in the same timeframe. This is perhaps the most ascribable reason to pursue a knowledge of musical semantics. Within music one expresses many emotions, speaks many languages, conveys complex messages, and ! tells many stories. Music can be a selfish form of conversation and it is not always necessary to have a recipient to convey a message. One has only to listen while playing music to communicate with themselves, yet most would suspect the stability of a person who attempted this scenario by simply talking and responding while alone. Music merges the