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 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 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 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, 3 What is poetry? We can possibly best define what poetry is by saying what it isn't. For one thing, poetry, unlike prose, cannot be paraphrased. If you could sum it up succinctly in any other fashion you wouldn't write the poem. One can talk about the theme of a poem, for instance, but it's the poem itself which conveys the ultimate effect. A poem is the best possible expression of what the poet wants to say. Some might say that the form and content of art, in this case poetry, is untranslatable. Let's 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 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: Glossary 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 4.1 Introduction Let us turn now to the problem of consciousness. What exactly is the issue here that so divides philosophers and is the focus of such vigorous debate? In broad terms, it is the question of the place of consciousness in the world – the question of how it arises and how it is related to processes in the brain. It is hard to deny that consciousness is closely dependent on the brain. Changes in the brain can affect consciousness (think of the effects of anaesthetics and psychedelic drugs), and References 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 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 Introduction This unit introduces some philosophical questions concerning the nature of the mind and mental phenomena, such as thoughts, perceptions and emotions. The unit considers what is involved in having a mind, whether there are different kinds of minds, and whether there is some characteristic that is shared by all mental phenomena. This unit is an adapted extract from the Open University course< References 2.1.2 Faustus's first speech The Chorus now introduces Faustus, who delivers his first speech of the play. The way the speech is staged and written serves to emphasise Faustus's position as an eminent scholar. It is set in his study, and he is surrounded by books, from which he reads in Latin. The works he consults, written by such great thinkers of classical antiquity as the Greek philosopher Aristotle, the Greek medical authority Galen, and the Roman emperor Justinian, were central texts in the sixteenth-century univer 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 1.2 Doctor Faustus Critics who have studied Marlowe's work have for the most part been inclined to take on trust the picture of him provided by Kyd, Baines, Beard and others, and to read the plays as statements of the author's own radical beliefs. But there is an obvious problem with this approach to Marlowe's work: we simply don't know whether these hostile accounts of his opinions are accurate or, as seems likely, deeply compromised by their writers' own motives and circumstances.
Doctor Faustus
The house that Jack or Jill might build
There's no one here at the moment
Author(s):
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Avramides, A. (1997) ‘Intention and Convention’, in C. Wright and B. Hale (eds) A Companion to the Philosophy of Language, Oxford, Blackwell.
Blackburn, S. (1984) Spreading the Word: Groundings in the Philosophy of Language, Oxford, Clarendon Press.
Carroll, L.(1893) ‘Through the looking-glass and what Alice found there’, in Alice’s Adventures in W
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.
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