2.3 After the recording It follows that sorting MacLean's poems out by ‘themes’ entails the risk of disguising the tight interlocking of ‘Politics’, ‘Love’, ‘Landscape’, ‘War’ and ‘History’ in all his poetry down to 1945. Nevertheless, for convenience's sake, I will do this.
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
2.3 Grice on natural and non-natural meaning Ironically, the word ‘meaning’ has many different meanings. There are four occurrences of ‘mean’ (or ‘meaning’ or ‘meant’, etc.), italicised, in the following paragraph: Roberto's instructor had been mean to put it so bluntly, but she was probably correct that his short legs meant he would never be a great dancer. He turned into the narrow alleyway, meaning to take a shortcut ho 1.3 Representation and thought It would be surprising if the meaning of our utterances turned out not to derive, in part at least, from the thoughts and other mental states that these utterances express. Were that so, language would be failing in one of its main functions. Ordinarily, an utterance of the sentence, ‘The German economy is bouncing back’, is intended to express the thought that the German economy is bouncing back, typically so that the audience will come to adopt this same thought. It is hard to se 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? 11 Conclusion Any assessment of Robert Owen is bound to be partial, because there are some gaps in our knowledge about both the man and his agenda. But we have seen the close links between his personal experience as an enlightened employer and the social philosophy presented in the essays, which found its ultimate expression in the community scheme and mutual cooperation. Owen's most important ideas about character formation underpinned much of this philosophy. He has rightly been condemned for much 2.6 Books and the internet as sources Finally, let's come back to the different types of modern sources as indicated in Figure 1. Many of these types are familiar to you in one way or another, so we can be brief. The course A219 uses set books that students registered with the Open University are required to purchase. Three of them are clearly modern schol 2.5 Modern sources As set out in Figure 1, modern sources, too, fall into various subcategories. We'll look at some of them in more detail a little later. For now let's just say that most of the sources you will use in this unit are broadly scholarly: publications written by people with an expertise in the Classical world. We will 4.2 Further reading The complete text of Isaiah Berlin's essay ‘Two Concepts of Liberty’ is contained in his Four Essays on Liberty (Oxford University Press, 1969). This book also contains an essay on John Stuart Mill's theory of liberty. A wider-ranging selection of Berlin's essays is The Proper Study of Mankind (Pimlico, 1998). This also includes the full text of ‘Two Concepts of Liberty’. The best commentary on Berlin's writings is Isaiah Berlin (Fontana, 1995) by John Gray. Altho 2.11 Birth of the ‘Romantic’ The ‘ardent and animated’ aspects of Delacroix’s work made commentators describe his large canvases of the 1820s as ‘Romantic’. By the end of the decade, he was regarded by many younger artists as the leader of a new, modern school of painting that in a spirit of revolutionary fervour had thrown off the shackles of a worn-out classicism. And yet, when a stranger who had seen Sardanapalusreferred to Delacroix as the ‘Victor Hugo of painting’, the artist responded, ‘You a 2.8 Colour and light – exercise Compare the effects of colour and light in Sardanapalus with those in David’s Andromache mourning Hector (Plate 3). What similarities and differences can you see? (You may find it helpful to look also at Plat 2.2 Sardanapalus – subject and composition The following explanatory text was published in the booklet accompanying the paintings at the 1827–8 Salon, where Delacroix’s canvas was exhibited: Death of Sardanapalus. The rebels besieged him in his palace … Lying on a superb bed, atop an immense pyre, Sardanapalus orders his eunuchs and palace officers to slit the throats of his women, his pages, and even his horses and favourite dogs; none of the 2.1 Inspiration for the Death of Sardanapalus Plate 1 is a reproduction of Delacroix’s The Death of Sardanapalus, believed to have been completed sometime between November 1827 and January 1828. Click on 'View document to see Eugène Delacroix,The Death of Sardanapalus Introduction What influenced Goya? Did Napoleon's invasion of Spain alter the course of Goya's career? This unit will guide you through the works of Goya and the influences of the times in which he lived. Anyone with a desire to look for the influences behind the work of art will benefit from studying this unit. This unit is an adapted extract from the Open University course From Enlightenment to Roma 3.1 The limits of propaganda Although portraits of Napoleon were manufactured on a large scale and distributed widely, they could only act as propaganda for the regime up to a certain point. Given the institutional circumstances sketched out in the introduction to this unit, the most effective way to use art as propaganda was with large-scale history paintings that would attract the attention and excite the interest of a large audience when they were exhibited in the Salon. State patronage for such painting was revived o 2.1.3 Amateur snapshots 1880s– 1 How to avoid damage when handling photographs Remember to treat your photographs with the consideration demanded by their age and fragility. Careless handling and storage will cause damage. Handle photographs at the edges: the skin carries chemicals which cause deterioration (professional archivists wear cotton gloves). Hold a photograph in both hands or support an unmounted print with a piece of cardboard to avoid unnecessary handling. Never write on a photograp Learning outcomes By the end of this unit you should: be able to discuss basic philosopohical questions concerning the nature of emotions; be able to discuss some of the philosophical literature on this subject by William James; have enhanced your ability to understand problems concerning the nature of emotions and to discuss them in a philosophical way. Learning outcomes After studying this unit you will have: developed your knowledge and understanding of the terminology associated with the culture, identity and power relevant to the Roman empire, as treated both in ancient sources and modern scholarship and presentation. 2.1 The provinces Controlling and governing the provinces was a substantial part of an emperor's remit. Here you will consider different ways in which the emperor had contact with his provincial subjects. You will work through some sections from books by Goodman and Lewis, and Reinhold and watch a short video sequence.
Exercise 2
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