Free Essays on Eloquent Expressionalism

Eloquent Expressionalism The thick morning fog swirls in plumes on the field as the sun attempts to break through the cover above. Hues of orange, purple, and red combine to form a breathtaking vista that belies the nature of what’s transpiring. The tall grass is stained red. Heat and humidity work in sync to establish an invisible barrier that bonds clothing to skin with little effort. To either side stand men in arms. Their brandished uniforms clearly visible against the backdrop of thick pine and spruce trees that surround the expanse of open land. Officers on horseback dictate orders to men who form the front line. Their well-groomed steeds exert a sense of power that would strike fear into anyone who would draw near. Pistols hug their sides as a reminder that abandonment is treason, and punishable by death. Cannons flank the field, positioned aggressively at the front of the line as to optimize their distance. Men awaiting the next shot step away in order to evade the recoil of the large gun. The smell of gunpowder and open wounds fill the air, a truly sickening combination. The sound of men screaming is overpowering, their cries heard only by god, a futile attempt at salvation. Whiffs of smoke emanate from the entrance of bullet holes, all while cauterizing tissue. The ground is littered with discarded weaponry. A rifle, lay jammed but mere feet from its owner, a pale young sergeant with thinning hair, and a look to his eyes as though he’d seen more than men twice his age. His vision slowly fading being replaced by instead, a murky darkness that drowns its victims in its sweet surrender. Soldiers charge over the already bent blades of grass, tripping, falling, over comrades and adversaries alike. Bodies taking cover from rogue cannonballs flying overhead. The earth is soft and rich, coating the smooth leather of the soldiers army issued boots. Unpolished buckles fail to gleam as they should due to oxidation, wh... Free Essays on Eloquent Expressionalism Free Essays on Eloquent Expressionalism Eloquent Expressionalism The thick morning fog swirls in plumes on the field as the sun attempts to break through the cover above. Hues of orange, purple, and red combine to form a breathtaking vista that belies the nature of what’s transpiring. The tall grass is stained red. Heat and humidity work in sync to establish an invisible barrier that bonds clothing to skin with little effort. To either side stand men in arms. Their brandished uniforms clearly visible against the backdrop of thick pine and spruce trees that surround the expanse of open land. Officers on horseback dictate orders to men who form the front line. Their well-groomed steeds exert a sense of power that would strike fear into anyone who would draw near. Pistols hug their sides as a reminder that abandonment is treason, and punishable by death. Cannons flank the field, positioned aggressively at the front of the line as to optimize their distance. Men awaiting the next shot step away in order to evade the recoil of the large gun. The smell of gunpowder and open wounds fill the air, a truly sickening combination. The sound of men screaming is overpowering, their cries heard only by god, a futile attempt at salvation. Whiffs of smoke emanate from the entrance of bullet holes, all while cauterizing tissue. The ground is littered with discarded weaponry. A rifle, lay jammed but mere feet from its owner, a pale young sergeant with thinning hair, and a look to his eyes as though he’d seen more than men twice his age. His vision slowly fading being replaced by instead, a murky darkness that drowns its victims in its sweet surrender. Soldiers charge over the already bent blades of grass, tripping, falling, over comrades and adversaries alike. Bodies taking cover from rogue cannonballs flying overhead. The earth is soft and rich, coating the smooth leather of the soldiers army issued boots. Unpolished buckles fail to gleam as they should due to oxidation, wh...

Yeats and The Symbolism of Poetry

Yeats and 'The Symbolism of Poetry' One of the greatest poets of the 20th century and a recipient of the Nobel Prize, William Butler Yeats spent his early childhood in Dublin and Sligo before moving with his parents to London. His first volumes of poetry, influenced by the symbolism of William Blake and Irish folklore and myth, are more romantic and dreamlike than his later work, which is generally more highly regarded. Composed in 1900, Yeatss influential essay The Symbolism of Poetry offers an extended definition of symbolism and a meditation on the nature of poetry in general. The Symbolism of Poetry    Symbolism, as seen in the writers of our day, would have no value if it were not seen also, under one disguise or another, in every great imaginative writer, writes Mr. Arthur Symons in The Symbolist Movement in Literature, a subtle book which I cannot praise as I would, because it has been dedicated to me; and he goes on to show how many profound writers have in the last few years sought for a philosophy of poetry in the doctrine of symbolism, and how even in countries where it is almost scandalous to seek for any philosophy of poetry, new writers are following them in their search. We do not know what the writers of ancient times talked of among themselves, and one bull is all that remains of Shakespeares talk, who was on the edge of modern times; and the journalist is convinced, it seems, that they talked of wine and women and politics, but never about their art, or never quite seriously about their art. He is certain that no one who had a philosophy of his art, or a theory of ho w he should write, has ever made a work of art, that people have no imagination who do not write without forethought and afterthought as he writes his own articles. He says this with enthusiasm, because he has heard it at so many comfortable dinner-tables, where some one had mentioned through carelessness, or foolish zeal, a book whose difficulty had offended indolence, or a man who had not forgotten that beauty is an accusation. Those formulas and generalisations, in which a hidden sergeant has drilled the ideas of journalists and through them the ideas of all but all the modern world, have created in their turn a forgetfulness like that of soldiers in battle, so that journalists and their readers have forgotten, among many like events, that Wagner spent seven years arranging and explaining his ideas before he began his most characteristic music; that opera, and with it modern music, arose from certain talks at the house of one Giovanni Bardi of Florence; and that the Plà ©iade laid the foundations of modern French literature with a pamphlet. Goethe has said, a poet needs all philosophy, but he must keep it out of his work, though that is not always necessary; and almost certainly no great art, outside England, where journalists are more powerful and ideas less plentiful than elsewhere, has arisen without a great criticism, for its herald or its interpreter and protector, and it may be for this reason that great art, now that vulgarity has armed itself and multiplied itself, is perhaps dead in England. All writers, all artists of any kind, in so far as they have had any philosophical or critical power, perhaps just in so far as they have been deliberate artists at all, have had some philosophy, some criticism of their art; and it has often been this philosophy, or this criticism, that has evoked their most startling inspiration calling into outer life some portion of the divine life, or of the buried reality, which could alone extinguish in the emotions what their philosophy or their criticism would extinguish in the intellect. They have sought for no new thing, it may be, but only to understand and to copy the pure inspiration of early times, but because the divine life wars upon our outer life, and must needs change its weapons and its movements as we change ours, inspiration has come to them in beautiful startling shapes. The scientific movement brought with it a literature, which was always tending to lose itself in externalities of all kinds, in opinion, in declamation, in pic turesque writing, in word-painting, or in what Mr. Symons has called an attempt to build in brick and mortar inside the covers of a book; and new writers have begun to dwell upon the element of evocation, of suggestion, upon what we call the symbolism in great writers. II In Symbolism in Painting, I tried to describe the element of symbolism that is in pictures and sculpture, and described a little the symbolism in poetry, but did not describe at all the continuous indefinable symbolism which is the substance of all style. There are no lines with more melancholy beauty than these by Burns: The white moon is setting behind the white wave,And Time is setting with me, O! and these lines are perfectly symbolical. Take from them the whiteness of the moon and of the wave, whose relation to the setting of Time is too subtle for the intellect, and you take from them their beauty. But, when all are together, moon and wave and whiteness and setting Time and the last melancholy cry, they evoke an emotion which cannot be evoked by any other arrangement of colours and sounds and forms. We may call this metaphorical writing, but it is better to call it symbolical writing, because metaphors are not profound enough to be moving, when they are not symbols, and when they are symbols they are the most perfect of all, because the most subtle, outside of pure sound, and through them one can the best find out what symbols are. If one begins the  reverie  with any beautiful lines that one can remember, one finds they are like those by Burns. Begin with this line by Blake: The gay fishes on the wave when the moon sucks up the dew or these lines by Nash: Brightness falls from the air,Queens have died young and fair,Dust hath closed Helens eye or these lines by Shakespeare: Timon hath made his everlasting mansionUpon the beached verge of the salt flood;Who once a day with his embossed frothThe turbulent surge shall cover or take some line that is quite simple, that gets its beauty from its place in a story, and see how it flickers with the light of the many symbols that have given the story its beauty, as a sword-blade may flicker with the light of burning towers. All sounds, all colours, all forms, either because of their preordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become, as it were, one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion. The same relation exists between all portions of every work of art, whether it be an epic or a song, and the more perfect it is, and the more various and numerous the elements that have flowed into its perfection, the more powerful will be the emotion, the power, the god it calls  among  us. Because an emotion does not exist, or does not become perceptible and active among us, till it has found its expression, in colour or in sound or in form, or in all of the se, and because no two modulations or arrangements of these evoke the same emotion, poets and painters and musicians, and in a less degree because their effects are momentary, day and night and cloud and shadow, are continually making and unmaking mankind. It is indeed only those things which seem useless or very feeble that have any power, and all those things that seem useful or strong, armies, moving wheels, modes of architecture, modes of government, speculations of the reason, would have been a little different if some mind long ago had not given itself to some emotion, as a woman gives herself to her lover, and shaped sounds or colours or forms, or all of these, into a musical relation, that their emotion might live in other minds. A little lyric evokes an emotion, and this emotion gathers others about it and melts into their being in the making of some great epic; and at last, needing an always less delicate body, or symbol, as it grows more powerful, it flows out, with all it has gathered, among the blind instincts of daily life, where it moves a power within powers, as one sees ring within ring in the stem of an old tree. This is maybe what Arthur OShaughnessy meant when he made his poets say they had built Nineveh with their sighing; and I am certainly never certain, when I hear of some war, or of some religious excitement or of some new manufacture, or of anything else that fills the ear of the world, that it has not all happened because of something that a boy piped in Thessaly. I remember once telling a seer to ask one among the gods who, as she believed, were standing about her in their symbolic bodies, what would come of a charming but seeming trivial  labour  of a friend, and the form answering, the devastation of peoples and the overwhelming of cities. I doubt indeed if the crude circumstance of the world, which seems to create all our emotions, does more than reflect, as in multiplying mirrors, the emotions that have come to solitary men in moments of poetical contemplation; or that love itself would be more than an animal hunger but for the poet and his shadow the priest, for unless we believe that outer things are the reality, we must believe that the gross is the shadow of the subtle, that things are wise before they become foolish, and secret before they cry out in the  market-place. Solitary men in moments of contemplation receive, as I think, the creative impulse from the lowest of the Nine Hierarchies, and so make and unmake mankind, and even the world itself, for does not the eye altering alter all? Our towns are copied fragments from our breast;And all mans Babylons strive but to impartThe grandeurs of his Babylonian heart. III The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us  waking  by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols. If certain sensitive persons listen persistently to the ticking of a  watch,  or gaze persistently on the monotonous flashing of a light, they fall into the hypnotic trance; and rhythm is but the ticking of a watch made softer, that one must  needs  listen, and various, that one may not be swept beyond memory or grow weary of listening; while the patterns of the artist are but the monotonous flash woven to take the eyes in a  subtler  enchantment. I have heard in meditation voices that were forgotten the moment they had  spoken; and  I have been swept, when in more profound meditatio n, beyond all memory but of those things that came from beyond the threshold of waking life. I was writing once at a very symbolical and abstract poem, when my pen fell on the ground; and as I stooped to pick it up, I remembered some  phantastic  adventure that yet did not seem  phantastic, and then another like adventure, and when I asked myself when these things had happened, I found, that I was remembering my dreams for many nights. I tried to remember what I had done the day before, and then what I had done that morning; but all my waking life had perished from me, and it was only after a struggle that I came to remember it again, and as I did so that more powerful and startling life perished in its turn. Had my pen not fallen on the ground and so made me turn from the images that I was weaving into verse, I would never have known that meditation had become trance, for I would have been like one who does not know that he is passing through a wood because his eyes are on the pathway. So I think that in the making and in the understanding of a work of art, and the mo re easily if it is full of patterns and symbols and music, we are lured to the threshold of sleep, and it may be far beyond it, without knowing that we have ever set our feet upon the steps of horn or of ivory. IV Besides emotional symbols, symbols that evoke emotions alone,and in this sense all alluring or hateful things are symbols, although their relations with one another are too subtle to delight us fully, away from rhythm and pattern,there are intellectual symbols, symbols that evoke ideas alone, or ideas mingled with emotions; and outside the very definite traditions of mysticism and the less definite criticism of certain modern poets, these alone are called symbols. Most things belong to one or another kind, according to the way we speak of them and the companions we give them, for symbols, associated with ideas that are more than fragments of the shadows thrown upon the intellect by the emotions they evoke, are the playthings of the allegorist or the pedant, and soon pass away. If I say white or purple in an ordinary line of poetry, they evoke emotions so exclusively that I cannot say why they move me; but if I bring them into the same sentence with such obvious intellectual symbols a s a cross or a crown of thorns, I think of purity and sovereignty. Furthermore, innumerable meanings, which are held to white or to purple by bonds of subtle suggestion, and alike in the emotions and in the intellect, move visibly through my mind, and move invisibly beyond the threshold of sleep, casting lights and shadows of an indefinable wisdom on what had seemed before, it may be, but sterility and noisy violence. It is the intellect that decides where the reader shall ponder over the procession of the symbols, and if the symbols are merely emotional, he gazes from amid the accidents and destinies of the world; but if the symbols are intellectual too, he becomes himself a part of pure intellect, and he is himself mingled with the procession. If I watch a rushy pool in the moonlight, my emotion at its beauty is mixed with memories of the man that I have seen ploughing by its margin, or of the lovers I saw there a night ago; but if I look at the moon herself and remember any of her ancient names and meanings, I move among divine people, and thing s that have shaken off our mortality, the tower of ivory, the queen of waters, the shining  stag  among enchanted woods, the white  hare  sitting upon the hilltop, the fool of  faery  with his shining cup full of dreams, and it may be make a friend of one of these images of wonder, and meet the Lord in the air. So, too, if one is moved by Shakespeare, who is content with emotional symbols that he may come the nearer to our sympathy, one is mixed with the whole spectacle of the world; while if one is moved by Dante, or by the myth of Demeter, one is mixed into the shadow of God or of a goddess. So too one is furthest from symbols when one is busy doing this or that, but the soul moves among symbols and unfolds in symbols when trance, or madness, or deep meditation has withdrawn it from every impulse but its own. I then saw, wrote Gà ©rard de Nerval of his madness, vaguely drifting into form, plastic images of antiquity, which outlined themselves, became definite, and seemed to represent symbols of which I only seized the idea with difficulty. In an earlier  time  he would have been of that multitude, whose souls austerity withdrew, even more perfectly than madness could withdraw his soul, from hope and memory, from desire and regret, that they might reveal those processions of symbols that men bow to before altars, and  woo  with incense and offerings. But being of our time, he has been like Maeterlinck, like Villiers de IIsle-Adam in  Axà «l, like all who are preoccupied with intellectual symbols in our time, a foreshadower of the new sacred book, of which all the arts, as somebody has said, are beginning to dream. How can the arts overcome the slow dying of mens hearts that we call the progress of the world, and lay their hands upon mens heartstrings again, without becoming the garment of religion as in old times? V If people were to accept the theory that poetry moves us because of its symbolism, what change should one look for in the manner of our poetry? A return to the way of our fathers, a casting out of descriptions of nature for the sake of nature, of the moral law for the sake of the moral law, a casting out of all anecdotes and of that brooding over scientific opinion that so often extinguished the central flame in Tennyson, and of that vehemence that would make us do or not do certain things; or, in other words, we should come to understand that the beryl stone was enchanted by our fathers that it might unfold the pictures in its heart, and  not to  mirror our own excited faces, or the boughs waving outside the window. With this change of substance, this return to imagination, this understanding that the laws of art, which are the hidden laws of the world, can alone bind the imagination, would come a change of style, and we would cast out of serious poetry those energetic rhythms, as of a man running, which are the invention of the will with its eyes always on something to be done or undone; and we would seek out those wavering, meditative, organic rhythms, which are the embodiment of the imagination, that neither desires nor hates, because it has done with time, and only wishes to gaze upon some reality, some beauty; nor would it be any longer possible for anybody to deny the importance of form, in all its kinds, for although you can expound an opinion, or describe a thing, when your words are not quite well chosen, you cannot give a body to something that moves beyond the senses, unless your words are as subtle, as complex, as full of mysterious life, as the body of a flower or of a woman. The form of sincere poetry, unlike the form of the popular poetry, may indeed be sometimes obscure, or ungrammatical as in some of the best of the Songs of Innocence and Experience, but it must have the perfections that escape analysis, the subtleties that have a new meaning every day, and it must have all this whether it be but a little song made out of a moment of dreamy  indolence,  or some great epic made out of the dreams of one poet and of a hundred generations whose hands were never weary of the sword. The Symbolism of Poetry by William Butler Yeats first appeared in  The Dome in April 1900 and was reprinted in Yeats Ideas of Good and Evil, 1903.

Carbon-Fibre Composite Materials Coursework Example | Topics and Well Written Essays - 1250 words

Carbon-Fibre Composite Materials - Coursework Example There are different types of automobile. A car is the most common type of automobile comprising largely in the usability in human population. Basically, the primary parts of a car includes: the exterior, lights, interior, chasis, brakes, suspension, and engine. Materials used for the various parts of a car needs to fulfill various criteria and comply with regulations and legislations that ensures the safety and environmental concerns of the machines. Traditionally, materials used for automobile parts production comprises of metallic materials, aluminum, steel, magnesium and other metallic alloys. However, with the rise of modern technology where various study discovered new researches, many of the metallic parts of car are now replaced with materials made up of composite materials (Ghassemieh). Composite materials such as carbon-fibre composites have been widely applied in automobile processing. Carbon fibres are those fiber materials derived from carbon. They are mixed and bound tog ether with other materials such as polymer resins processed under heat, pressure and vacuum to derive the special properties for the composites (Johnson, T. n.d). They are considered as new breed for high strength materials. It contains about 90% carbon fiber which is very durable and strong. They are very suitable when used in applications requiring stiffness, strength, lesser weight and superior fatigue characteristics (Hegde, et al. 2004). Carbon Fiber composite polymers or CFRP are devised in automobile manufacturing as they are lightweight.

Consumer Participation in Mental Healthcare in Australia Research Paper

Consumer Participation in Mental Healthcare in Australia - Research Paper Example The optimistic logic of mental health is that it leaves a special variety of stress on human emotions while mental illness conducts negative stress on human thoughts and actions. However, mental illness is not subjected to any physical illness or disease but considered, as a psychological disorder in humans ((Editor),H. Tristram Engelhardt Jr (Editor),S.F.Spicker ). During 1970’s, it was widespread that mental illness and mental health were the two different shaft of a continuum. Since, there are varying degrees of health and sickness that indicates a person’s behavior, a thin line is present between mental health and mental illness. However, one may become sick from being healthy subjective to enough stress and anxiety in social environment. Likewise, in 1980’s, this theory was rejected by (Michel’s and Marzuk1993; Wilson1993) stating that a person can either be sick or healthy (, Department of Health). According to this statement, mental illness in a per son is demonstrated by its abnormal behavior. For example, schizophrenia, anxiety, depression, anger, aggression and substance abuse etc. In addition, the sources of mental illness are biochemical, biological, neurological or genetics. Mental health delineates self-esteem, self-actualization and realization, ability to fulfill desires, and significant relationships. Consequently, mental health is far more different from mental illness (, Department of Health).   Subsequently, Australia and New Zealand have been working significantly in providing mental health care facilities to the consumers, as a result, the country’s national policies, effective strategies and legislation have been prepared.  

Why Was There a Spanish Armada Essay Example for Free

Why Was There a Spanish Armada Essay England and Spain have had religious differences since Henry VIII changed England into a protestant country as a result of the divorce his first wife, Catherine of Aragon. When Henry died his son, Edward I, was a strong protestant and reinforced the protestant faith in England. When Edward I died at the age of 15, his half sister Mary became Queen. She was a strong Catholic, and this resulted in England returning to the Catholic religion which resulted in the persecution of non-Catholics. She married King Phillip of Spain who was also a devout Catholic. When Mary died, her half sister Elizabeth I became Queen of England, who immediately stopped the persecutions of non- Catholics and changed England back to protestant. The main reason for the Armada was because King Phillip of Spain wanted to take over England and to change it back to Catholic, just as Elizabeth had turned it protestant. King Phillip offered to marry Elizabeth thinking that he could have control over English politics and persuade her to keep the Catholic faith. After she refused his offer he made several failed attempts to kill Queen Elizabeth to replace her with a Catholic Monarch, Mary, Queen of Scotts. King Phillip was getting angry with Queen Elizabeth because she was letting English pirates attack Spanish ships as long as she got a percentage of the spoils. She also offered to help Protestants who rebelled against Spanish rule in the Spanish Netherlands. Elizabeth ordered the execution of her cousin Mary Queen of Scots, which convinced King Phillip to attack England. Queen Elizabeth knew that King Phillip had a big fleet of ships and lots of essential supplies. She sent the Royal Navy to do a surprise attack on the Spanish ships at the harbor in Cadiz. The British attacked and damaged several warships, some very severely. They also destroyed the barrels of food, water, and gun powder on the ships. They had to make new ones but they did not let the barrels dry long enough which caused the contents to spoil. The food rotted, the water became undrinkable, and the gun powder was useless. This delayed the Spanish Armada attack for one year.

Humorous Wedding Roast by a Friend of the Groom Essay -- Wedding Toast

Humorous Wedding Speech by a Friend of the Groom Good evening Ladies and Gentlemen - I must admit to being rather nervous about today's speech. As it’s a family occasion, the last thing I want to do is cause offence by talking in too much detail about Brian’s colorful past. I’ve therefore decided to edit out anything that might cause offence. So thank you very much and have a wonderful evening! Sit down. Laughter. Stand up and continue. I read somewhere that you can flesh out your speech by researching which famous people were born the same day as the groom (bridegroom), and make some sort of link. Well, Brian was born on 9th January 1976, just 24 hours after a whole host of famous and interesting people - musical luminaries such as Bowie and Elvis, and the modern day Einstei...

Anselm’s Monologion

Anselm’s Monologion is at first a detailed expansion of his more famous ontology – the proof of the existence of God – as expressed elsewhere. In this proof God is first equated with the most perfect being, and then it is demonstrated that such a being necessarily exists. The Monologion is concerned more with the nature of the most perfect being, and what else can be predicated about it, in relation to itself, and to created beings. The same line of argument is followed, where the oneness and the perfection of the Supreme Being are emphasized, but after a point we notice that the effort is diverted into explaining the Christian doctrine of the Trinity, so that God is said to be three persons in one substance, and yet indivisibly one. It needs to be remembered that Anselm does not attempt to ‘prove’ the doctrine of the Trinity. Therefore the latter part of the Monologion is really persuasive rather than demonstrative. The aim is to convince us of the reasonableness of the doctrine of the Trinity. It will be instructive to recall Anselm’s ontology here. In order to divert any suspicion of sophism, Anselm introduces the argument as taking place in the head of a fool. This fool denies the existence of a Supreme and Perfect Being. But when he tries to imagine something of the kind in his head, he cannot. Whatever great thing he imagines, it is not final, because the mind soars inexorably past it and imagines something even greater. The mind tries to grasp perfection, but cannot do so. Anselm argues that if there were no perfect being, then the mind chases after nothing, which cannot be so. So there must be a thing called Perfection, at least as an idea. Next he supposes the case where the Perfection is only in the mind and not in reality. If this were the case then it would not be the most perfect thing, because being only in the mind, the mind would then try to imagine something even greater than it. Therefore the Perfect Being has real existence. The Monologion opens with a variation on this ontology, postulating that all things that are good, or great, or virtuous in any way, are so due to the goodness, greatness or virtue of the Supreme Being, which must necessarily exist as the abode or perfection and being whereby everything else derives its qualities and its existence. It then tries to fix the nature of this Supreme Being, and concludes that whatever qualities it possesses it does so by itself, from itself, and through itself. And at the same time all created beings possess their qualities and their existence by, from and through the Supreme Being. So that a person can be said to be just, which implies a comparison. He is just because he has more justice in him then the next person. But with God there is no comparison, so that He is Justice itself. He is said to exist in all places and in all times, and this sense exists in the truest sense. In comparison all created being can be said not to exist at all, and at best that they exist in a limited sense. They are mutable, so that whatever existence they have is fleeting – nothing is ever what it was a moment ago. Therefore, the Supreme Being not only brings them into existence, but sustains their existence too. These are things demonstrated in the first part of the Monologion, and all the arguments follow the same pattern as in the ontology, i. e. it employs the oneness and perfection of God. But then Anselm comes to consider the Expression of the Supreme Being. All created existence is but a manifestation of the Expression. We must next consider whether this Expression is also a creature. But it cannot be so, because all creatures come to existence through the Expression, and the Expression cannot come into being through itself. If it is not a creature then it can only consubstantial with the Supreme Being. Here it is established that the Expression of the Supreme Being cannot be anything distinct from it. It must therefore be sufficient in itself, and need not depend of created beings, having existence before creating things came into being, and even after the final dissolution of things. So we need to find a way to describe the Expression to relation to God alone. Anselm describes it as the understanding of God. It can be seen as a means by which God comes to understand Himself. It is plain that God cannot be in the dark about his own nature, says Anselm, and he points out that even the human mind understands itself. The mind is conscious of itself, can remember itself, can reason with itself. This is but the mind understanding itself. If the mind can understand itself to some extent, there is no doubt that the Supreme Being understands itself, and does so not partially, but wholly. It is indeed the aspect we know as divine wisdom. The next step is to equate the Expression with the Word. In truth, an analogy is here being drawn between â€Å"words†, which are the units of human language, and the essence of expression. In a word is the image of the thing as we sense it. Therefore, in words are the expressions of all things, and as words all things are represented in the human mind. There are, no doubt, other carriers of expression, for example, pictures, sculptures, tastes, smells, etc. But the word is the purest and most powerful medium. It is the building block of language, and thus is the bearer of culture and civilization. We have many words, and these exist so that all things may be represented in the mind, and even then it is inadequate to bring the whole diverse splendor of the universe to us. Anselm asks the question whether the divine expression employs many words. But quickly demonstrates that such diversity would detract from the perfection of the divine expression. If the Expression is one, and the word is made consubstantial to it, then the word is also one, and this is the Word. It is the supreme image of the divine, but it also forms an identity with the divine. From it is derived all other words, and indeed all other images. Since all things are created in the image of the divine, the Word is indeed the source of all Creation. Anselm thus far has arrived at the Biblical assertion, as found in the Gospel of John: â€Å"In the beginning was the Word, and the Word was with God, and the Word was God† (John 1:1). Anselm points out a possible difficulty at this point. If it is true that the Word brings all things into existence in the manner of lending to them its own image, then it must be somehow like the things which are created, being in its own image. He considers the three mutually exhaustive cases. Either the likeness is (1) exact, (2) partial, or (3) non-existent. It is obvious that there cannot be an exact likeness, because created things are mutable, and the Word is not. A partial likeness implies that some aspects of the creating being do not derive from the Word, which is also plainly false. If there no likeness at all then there is no creation either. Anselm suggests that we come over this difficulty by using the comparison the other way. This means that we should compare created beings to the Word, and not the other way round. All created things must compare to the Word is some degree. And the degree to which they do compare is the degree of their existence. To elaborate on the theme of ‘degrees of existence’, Anselm asks us to consider the gradated nature of all created things. The rational human mind is certainly superior to the sensual human body; the sensual animals are certainly superior to the non-sensual plants; the sentient plants are superior to the non-sentient and material substances. Each created being is an effulgence of the Word, and it must necessarily be so, because the Word is the expression of the divine. But there seems to be a gradation that rises to make the image of the divine truer and truer. When we arrive at the rational human mind we have self-reflexive understanding, which is an attribute we apply properly only to the divine mind. But then, human reason does not comprehend itself finally, and neither can it come to an understanding of what it sees as God and the universe. On the other hand, the Spirit that is God comprehends itself fully, and this through the means of the Word. Therefore we must conclude that the human mind is an effulgence of the Word, but it is not the Word itself. Through a multiplicity of ‘words’ the human mind can grapple with the infinite expanse that it finds before it, and can come to know of the existence of the Word, thus of God, though it cannot know the Word itself. We may assert that the rational mind is the greatest among all created things, and therefore bears the greatest likeness with the Word, and consequently possess more reality that anything else in the phenomenal world. Though none can deny that it is a created, and thus limited thing. This much Anselm attempts to prove. Much of the latter part of the Monologion is not proof but suggestion. The starting point of such suggestion is when Anselm insists that the Expression be construed as something distinct from the Supreme Being. Having already proved that there cannot be any distinction, Anselm seems to be taking liberties now. He wants to be reasonable instead of rational. It is as if he is encountering God as a person instead of a matter of logic. In the sense that we would not mistake the expression of a person with the person himself, so Anselm describes the Word as distinct from the Supreme Being, And further on he will give the description a more personal character by saying that the Word in begotten by the Supreme Being in the way that the son is begotten of the father. He is at pains to point out, though, that it is an â€Å"ineffable plurality. To be sure, ineffable—because although necessity compels that they be two, what two they are cannot at all be expressed† (Anselm 53). In the end it is an article of faith that he is espousing. To think in this way is to gain a glimpse into the deepest mysteries of the divine, and this is what increases devotion and strengthens faith. Once we admit two distinct beings in God, there issues by necessity a third, with is Love, which is that by which the Son is united with Father and the Father with the Son. This is the doctrine of the Trinity, that which Anselm has been aiming at from the beginning. We draw the following conclusion. In the Monologion it is Anselm’s task to prove the existence of God and to elaborate on the perfection of His nature. The proofs that he provides for the existence and perfection of God are thorough and irrefutable. He elaborates on the Expression of God as the source of all created existence. But even though he establishes that, in a strictly logical sense, we cannot apply predicates to God, he nevertheless goes on espouse the Christian doctrine of the Trinity. He is careful to point out that this latter assertion is not a proof, but is rather the most reasonable predicate that can be applied to God.

Thanatology

Define social death and describe some specific ways in which it is manifested. Social death is described as a concept that â€Å"is defined situationally by observing how a person is treated by others. † (Kastenbaum, 56) Even if an individual is trying to be part of a group, they may be disregarded or rejected. Any person can experience social death because we are all at the mercy of our peers. All people are looking to be accepted and feel like they are part of something greater than themselves.There are many ways that social death can occur. One of the most common occur because of a marriage. In some cultures, if an individual marries someone out of their religious or ethnic group they can experience social death. The individual may be ousted by their group, whether it is family, church, or peers. The individual would likely be completely cut off from that particular group. Social death can also occur if an individual violates some type of law.In western society if a person violates a law they can be jailed and they â€Å"may also strip a person of the rights of citizenship, and the church may excommunicate. † (Kastenbaum, 56) On the same note, in a different culture a tribal person may be subjected to a â€Å"bone-pointing ceremony† (Kastenbaum, 56) where an individual may face a symbolic execution. They may also take away the individuals property and redistribute it among the tribe. Another way a person may be exposed to a social death is by having a physical or mental disability.Many times people who are institutionalized are treated less like a person and more like an object. The individual may be ignored or avoided which leads to a social death. Another social death can occur when an individual has a terminal illness. Many people do not want to acknowledge an individuals pending death, so they pretend as though the dying person is not there. Unfortunately, a social death may be the only option for an individual when people cannot acc ept that someone is dying.The worst part of this type of social death is that most times the dying person is still very much alive and aware of what is going on around them. No matter what the reason a social death must be the worst feeling. An individual must feel a sense of being unimportant and unloved when experiencing a social death. When a person is constantly ignored or discounted it is a deep emotional event that can cause the individual to think less of themselves. â€Å"The concept of social death recognizes that when we die on the eyes of others, we may become somewhat less of a person. † (Kastenbaum, 56)

Vacines Immunity Example

Vacines Immunity Example Vacines & Immunity – Coursework Example Vaccine and immunity Immunity refers to the ability of the human body to tolerate the invasion of the pathogen and finallyeliminate it from the body. Antibodies are the main basic unit that carries out the function of fighting and naturally eliminating the pathogen from the body. Antibodies detect the pathogens through foreign molecules on the pathogens’ surface. After this, antibodies attach to pathogens surface to execute actions against the pathogen. Antibodies act against pathogen invasion through various processes including the opsonization, neutralization, complement activation, and receptor-mediated cell activation (Long, Larry and Charles 617). Through these actions, the antibodies eliminate pathogens and neutralize pathogen toxins. The action is important in protecting the body from diseases that a person may have had before. Antibodies protect the body through passive or active immunity.Formation of vaccines involves the attenuation of pathogens. Vaccine formation ma y involve the use of the whole organism like influenza or part of the organism like tetanus bacteria (MacPherson and Jon 95). Introduction of these attenuated or killed pathogens causes antibodies to react against them. However, production of most effective immune system depends on live antigens. At this point, the weakened pathogens cannot cause any disease hence function only to cause activation of the immune system. They can trigger the immune system because they contain antigens that activate B and T cells (Chiras 46). Memory cells then store futures of the pathogen for future reference. If a live pathogen causing the disease invades in future, the body reacts by fast mobilization specific antibodies against the pathogen through help of memory cells. Elimination of the pathogen in real infection becomes fast after the previous encounter. The action of the immune system ensures elimination of pathogens from the body without much replication. Through this mechanism, vaccines induc e active immunity against pathogens such as measles and poliomyelitis viruses.Works citedChiras, Daniel D.  Human Body Systems: Structure, Function, and Environment. Burlington, MA: Jones & Bartlett Learning, 2013. Print.Long, Sarah S, Larry K. Pickering, and Charles G. Prober.  Principles and Practice of Pediatric Infectious Diseases. Edinburgh: Elsevier Churchill Livingstone, 2012. Print.MacPherson, Gordon, and Jon Austyn.  Exploring Immunology: Concepts and Evidence. Hoboken: Wiley, 2013. Print.

5 Types of Redundancy

5 Types of Redundancy 5 Types of Redundancy 5 Types of Redundancy By Mark Nichol Various words and phrases serve to communicate what a word or phrase refers to or herald to a reader that additional information is forthcoming or a comparison is being made, but writers sometimes make the mistake of unnecessarily employing more than one of these indicators at once. The following five sentences illustrate an array of redundancies. Discussions and revisions follow each erroneous sentence. 1. Many of them are between the ages of 15 and 35 years old. â€Å"The ages of† and â€Å"years old† serve the same purpose- to identify what the numbers 15 and 35 signify- so use one or the other: â€Å"Many of them are between 15 and 35 years old† or â€Å"Many of them are between the ages of 15 and 35.† 2. Despite differences between millennials and Generation Z, both share the same workplace learning needs. Both and share have the same function; they indicate that there is something in common. Either write â€Å"Despite differences between millennials and Generation Z, they share the same workplace learning needs,† or start the main clause with â€Å"both have† and detail the specifics. 3. In addition, financial institutions should also consider having teams that provide oversight at regional or global levels. Also is redundant to â€Å"in addition,† so use one or the other: â€Å"In addition, financial institutions should consider having teams that provide oversight at regional or global level† or â€Å"Financial institutions should also consider having teams that provide oversight at regional or global levels.† 4. He hosted an educational television program from 1993 to 1998, and he also wrote several books on scientific topics. And indicates that additional information is forthcoming, so also is extraneous: â€Å"He hosted an educational television program from 1993 to 1998, and he wrote several books on scientific topics.† (Another option is to slightly simplify the sentence: â€Å"He hosted an educational television program from 1993 to 1998 and wrote several books on scientific topics.† Alternatively, also can be retained if and is deleted, which requires, however, that a semicolon supplant the comma: â€Å"He hosted an educational television program from 1993 to 1998; he also wrote several books on scientific topics.†) 5. His account was bolstered by Jones, who, like Smith, also relies on communications with a network of family and acquaintances still in the city. Like indicates that Jones shares a characteristic with Smith, so also is superfluous: â€Å"His account was bolstered by Jones, who, like Smith, relies on communications with a network of family and acquaintances still in the city.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Style category, check our popular posts, or choose a related post below:Yours faithfully or Yours sincerely?8 Writing Tips for Beginners10 Varieties of Syntax to Improve Your Writing

Based on the appropriate texts (Corcyra, The Trojan Women, The Clouds, Essay

Based on the appropriate texts (Corcyra, The Trojan Women, The Clouds, The Republic, Gaugamela), define the three or so most important changes (or phenomena) in the Greek world in the period - Essay Example The philosophies that were a part of the changes of this time began with an understanding of the several gods that were a part of the culture. This began to alter with several philosophies and debates that were a part of the time period. One of the ways that this can be seen is through â€Å"The Republic† by Plato. The beginning part of this book shows the debate between several religious principles and morals, as well as how these contradicted ideas in society. Socrates, throughout this book, represents the new thought, which includes an understanding of justice, happiness and a questioning of morals and truth. This is opposed to other characters, such as Glaucon, who show the old ideas in society and how they no longer work with functioning in society. For instance, in an opening debate, Socrates and Glaucon begin to debate over the different concepts of wealth and how this can lead to justices or injustice. Glaucon states, â€Å"If, Socrates, we are to be guided at all ana logy of the preceding instances, than justice is the art which gives good to friends and evil to enemies† (Plato, 42). These types of debates would move through the religious concepts of justice as well as how they pertained to society, specifically to determine new types of morals that were being looked into during this time frame. While this particular concept was seen from one viewpoint, it could also be noted that the debates with morals and philosophies appeared to have more tensions in society. For instance, â€Å"The Clouds† by Aristophanes, is based on the works of Plato and specifically with the ideologies that Socrates represents. The play begins with the son Strepsiades, who is devoted to go to the school of Socrates, known as the Thinkery. This becomes a debate when Strepsiades sees goddesses and representations of clouds, which come to tell him truth outside of the Thinkery. This becomes the main conflict of the