3.4 Strawson: Section VI There is only one more section left in the paper. Here, as we would expect, Strawson returns to the way in which he set out the problem (in II:4) and makes good his promise to ‘[give] the optimist something more to say’. Introduction This unit asks what it is to be a person. You will see that there are several philosophical questions around the nature of personhood. Here we explore what it is that defines the concept. As you work through the unit, you will notice that this area of enquiry has developed its own semi-technical vocabulary. The plural of ‘person’ is, in this area of enquiry, ‘persons’ rather than ‘people’. It is easy to see the reason for this. The question ‘What are people?’ is potentially c 4.2 Parts of speech In describing the grammar of written Latin, the best method is to use the traditional classical grammar, as worked out by the Greeks and Romans themselves. As a preliminary, it may be useful to learn the ‘parts of speech’ in English. A very brief explanation follows, and then a much fuller discussion. References 2.3 The pervasive influence of Enlightenment You will find in this unit in one form or another the pervasive influence of the Enlightenment. Sometimes this influence is buried in deeply ambiguous texts such as Wolfgang Amadeus Mozart's (1756–91) opera Don Giovanni (1787), which includes a famous toast to ‘liberty’. The opera is seen by some as an attempt to subject to critical scrutiny the behaviour of at least one member of a corrupt eighteenth-century aristocracy and the social or class structure that facilitated h Introduction The unit will examine the Enlightenment. To help understand the nature and scale of the cultural changes of the time, we offer a 'map' of the conceptual territory and the intellectual and cultural climate. We will examine the impact of Enlightenment on a variety of areas including science, religion, the classics, art and nature. Finally, we will examine the forces of change which led from Enlightenment to Romanticism. This unit is an adapted extract from the Open University course 7 Other rhyming techniques
Near- or half rhymes are words or combinations of words that achieve only a partial rhyme. Half rhymes can be between words with just one syllable, or between parts of words, for example where the accented syllables rhyme with each other, but other syllables in the word don't rhyme. For instance: cover–shovel; wily–piling, calling–fallen; wildebeest–building.
Assonant rhyme refers to echoing vowel sounds, eith Acknowledgements The content acknowledged below is Proprietary (see terms and conditions)
This content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following sources for permission to reproduce material in this unit: 3.1 Introduction Let us take up the question of the location of the war memorial. I am going to give you a list of places in which I would expect you to find your war memorial: Glossary 7 Experiencing the exotic So far we have looked in some detail at the interiors of Nash's Pavilion, with the important exception of the Banqueting Room (decorated by Robert Jones) and the Music Room (decorated by Frederick Crace). Both were designed as coups de theatre and it is this aspect of these rooms that I'd like you to focus upon now. 4 ‘Chinese’ on the inside Our evidence for the evolution of the Pavilion's interiors is largely derived from Augustus Pugin's watercolours of the building's interiors and exteriors, executed for a picture-book commissioned around 1820 by the house-proud prince from his architect John Nash, entitled Views of the Royal Pavilion, completed in 1826. On the whole, the Pavilion today has been restored to congruence with the Views, to appear as it did in 1823 when the building was finished. Let's now look at th 4.5 The function of consciousness There is another problem I want to mention briefly. What is the function of consciousness? What difference does it make to have phenomenally conscious experiences? This may seem an odd question. Surely, the answer is obvious: the function of consciousness is to provide us with information about our environment – about colours, shapes, sounds and so on. But this is too swift. We do not need to have conscious experiences in order to acquire perceptual information about our enviro 4.4 Physicalism and the hard problem I introduced the hard problem as an explanatory problem – the problem of explaining how consciousness arises. But it can also be presented as a metaphysical problem – the problem of saying what kind of phenomenon consciousness is, and, more specifically, whether it is a physical one. In this section I shall say something about this aspect of the hard problem and its relation to the explanatory one. The terms ‘physical’ and ‘physicalism’ (the view that everything is ph 4.2 Naturalism and reductive explanation There is a widespread commitment among contemporary philosophers and scientists to a naturalistic view of the world. In broad terms, naturalism is the view that everything is scientifically explicable – to put it crudely, that there are no miracles. (Note that I am using ‘naturalism’ here for a metaphysical position – a view about the nature of the world. It is also used for a methodological position – a view about how the world, or some aspect of it, should be 1.1 Introduction One of the most impressive but puzzling capacities we have is the ability to represent the world around us, both in talking about it among ourselves and in thinking about it as individuals. When someone utters the sentence, ‘The German economy is bouncing back’, for example, they are able to convey to their audience something about the German economy. Their utterance may be correct or it may be incorrect, but either way it is making a claim about how things are, and in this loose but intu References 2.3 Acts 3 and 4: What does Faustus achieve? Act 2 points repeatedly to the failure of Faustus's attempt to secure power and autonomy through his pact with Lucifer: in Act 2, Scene 1 Mephistopheles declines his request for a wife, and in Act 2, Scene 3 he refuses to tell him who made the world. Acts 3 and 4 cover the bulk of the twenty-four-year period that Faustus purchased with his soul. How do they make us feel about what he actually achieves through his embracing of black magic? Are we encouraged to feel it was worth it? 2.1.1 The morality play Before looking at the play's opening scene I should add a brief note on the medieval morality play, the type of drama on which Marlowe draws in adapting The Damnable Life for the stage. After the Prologue and Faustus's long opening speech, you may have been startled by the appearance of the Good and Evil Angels. Even if you had expected to find supernatural beings in a play about a man who sells his soul to the devil, the Good and Evil Angels may have struck you as strange, perh 5.3 Irregular and unorthodox practitioners In the twentieth century, unlicensed practitioners continued to be an important source of medical advice. Faced with illness, people of all classes consulted relatives, neighbours with a reputation for curing or the local retail chemist – who had no medical training but a wide knowledge of therapies. Substantial numbers of patients from all classes chose to consult unorthodox practitioners who offered ‘natural’ forms of healing. Herbal medicine remained popular among working-class patie
Activity
Part of speech
Explanation
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local parish church
local parish churchyard
centre of your town or village
village green
local park or garden
school or college
Author(s):
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Bennett, A., Cook, P., Miller, J., and Moore, D. (1987) The Complete Beyond the Fringe, Methuen.
Berlin, I. (1969) Four Essays on Liberty, Oxford University Press.
Warburton, N. (1999) Arguments for Freedom, Open University (A211 course book).
Warburton, N. (2000) Thinking from A to Z, Routledge (second e
Cheney, P. (2004) ‘Introduction: Marlowe in the Twenty-First Century’, in Cheney, P. (ed.) The Cambridge Companion to Christopher Marlowe, Cambridge, Cambridge University Press, pp. 1–23.
Healy, T. (2004) ‘Doctor Faustus’, in Cheney, P. (ed.) The Cambridge Companion to Christopher Marlowe, Cambridge, Cambridge University Press, pp. 174–92.
Ho
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