References 4.1 Why was our immortality an issue? When reading about Hume's death you may have been puzzled as to why people became so worked up about Hume's attitude. The question of what, if anything, happens after death is something most of us are at least curious about, just as most of us are curious to know what we will be doing in a few years’ time. But curiosity cannot explain the venom evident in the condemnations of Hume. The reason for the hostility can be approached by considering the opera Don Giovanni. The opera i 1.2 The myth of the artist Consider Howard Hibbard's analysis of Caravaggio's The Martyrdom of St Matthew in the Contarelli chapel (Langdon Plate 19 – see the Web Gallery of Art at http://www.wga.hu/frames-e.html?/html/c/caravagg/04/index.html) from his monograph, Caravaggio (1983). Hibbard identifies the figure at the rear to the left of the semi-naked executioner as the artist's self-portrait: ‘a bearded, saturnine villain who is none other than Caravaggio himself’. References 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’. Conclusion You have now had an opportunity to examine the poetry of Sorley Maclean. This should have helped you gain an increased sense of the power of Maclean's poetry both in the English and in its original Gaelic. The provision of the English translations and the discussion by the poet himself during the interview with Ian Critchton-Smith should have increased your understanding of the English texts. 1.3 MacLean's Celtic roots MacLean was born in 1911 in Osgaig, a small township on the Isle of Raasay, adjacent to Skye, the larger island where he went to school. His childhood was dominated by a majestic landscape. The woods of Raasay and the peaks of the Cuillin Hills on Skye are as central to his poetic universe as the hills of Cumbria to Wordsworth's. His father and mother combined work on a small croft with a tailoring business. The latter was severely hit by the great depression of the 1930s, and the family's re 1.2 Grasping Gaelic Please read the following poems by Sorley MacLean (linked below): ‘The Turmoil’, ‘Kinloch Ainort’, ‘Heroes’, ‘Death Valley’, ‘A Spring’, and ‘She to Whom I Gave…’. Some of the poems have both Gaelic 4.3 Responses to religion Reasoned responses to religion could take many forms. It was rare for writers to profess outright atheism; even in those cases where we may suspect authors of holding this view, censorship laws made their public expression unlawful. These laws were particularly stringent in France. In many cases reasoned critique was applied to the practices of institutional religion, such as the corruption of the clergy or the rituals of worship, rather than to more fundamental matters of doctrine or faith. 10 Hold that space! The caesura is the stress which falls at a moment of silence. It's the equivalent of a musical rest and is usually delineated by punctuation. Composers and poets recognise the importance of the space between notes. We know that poems are made of lines and lines need line- breaks, which we've already discussed. These 9 Metre As we have seen, scansion is the act of mapping out stress patterns in order to ascertain the metre (rhythm). In the accentual-syllabic system, the dominant tradition in English, both accents (stresses) and syllables are measured and counted. In accentual metre, the stresses are counted and the syllables can vary. In syllabic metre, the syllables are counted, while the stresses can vary. Here is pentameter, the line of f 5.4 Tercets The following poem is written in tercets.
It happens once, in his absence. The bright hall rings, rings and, mid-ring, clicks back over into silence. It leaves two isolated sighs, hers, momentarily frozen before an ocean of blank space that by nightfall he'll come across and save against the backdrop of 5.3 Stanzas and verse The poem ‘The literal and the metaphor’, which you read in Section 5.1, was divided into two sections. We call these verses or stanzas, and they are the poetic equivalent of paragraphs, but with more shape, weight and focus than the prose equivalent. Stanzas are like islands encircled by shores. Or, Introduction This unit introduces common techniques underlying free verse and traditional forms of poetry, and how it is necessary to use these techniques in order to harness what T.S. Eliot called the ‘logic of the imagination’ (Eliot, 1975, p. 77). We discuss the possibility of using your own experience, but also the power of imagination, and of utilising different personae in your poems. You are also introduced to the basic terminology and practical elements of poetry – the line, line-breaks, sta 2.9.2 Searle's objection In ‘What is a speech act?’, John Searle introduces a memorable example of an utterance in which Grice's conditions are all met for it to mean one thing, but where the words used suggest that the utterance means something quite different, if it means anything at all. The conclusion Searle invites us to draw is that what our utterances mean is not exhausted by the speaker's intentions alone. An additional consideration is the meaning of the expressions used. If they don't match the intentio 9 The factory reform movement Owen's participation in the movement for factory reform was clearly much influenced by views expressed in the essays. This showed his continuing concern, first evidenced in Manchester, about the impact of industrialisation on society, a theme to which he consistently returned. His personal record on the employment of children at New Lanark was certainly an example of good practice in the cotton industry, which in Owen's words was invariably ‘destructive of health, morals, and social comfort 7 New Lanark as showpiece and text Owen's partnership of 1814, consisting of Bentham and other enlightened individuals, mainly wealthy Quakers, paved the way for the rapid implementation of the innovations spelled out in the Statement of 1812 and subsequently in the essays. Two of the partners, William Allen (1770–1843), a chemist and businessman, and the wealthy and philanthropic John Walker (1767–1824), Owen's closest associate, were interested in education and had encouraged the establishment of schools adopting 4.4 Manchester Literary & Philosophical Society and Board of Health In the meantime Owen joined the town's social and intellectual elite, which like its politics was largely dominated by Dissenters. They were prominent in the Manchester Literary & Philosophical Society which Owen joined in 1793. There he associated with some significant reformers, heard papers on a wide range of intellectual, industrial and social topics, and himself presented papers dealing with such issues, including one on education. The society was founded in 1781, the co-founders b 4.3 Business and enlightenment: Manchester 1789–99 Manchester's dynamic business environment, particularly that of the new cotton industry, presented many opportunities for enterprise, even to those with modest capital. By 1790 Owen had joined John Jones, probably another Welshman, making spinning machinery. The next logical move was into cotton spinning itself, and very quickly Owen had established a reputation as a manufacturer of fine yarn, selling as far afield as London and Scotland. When in 1792 one of the town's leading merchant capita Learning outcomes By the end of this unit you should be able to understand: the Enlightenment ideas that underpinned Robert Owen's social reform agenda; how Owen's background and experience at New Lanark fed through into his thinking in the essays in A New View of Society; the main proposals in the essays; New Lanark's role as a model for social reform during this period.
Activity
Activity 1
The house that Jack or Jill might build
There's no one here at the moment