VOSKANYAN Tigran TES1 Hamlet’s second soliloquy : oral presentation In the last scene of act I Hamlet is told by the ghost that his father has been murdered by Uncle Claudius‚ the brother of the deceased king. Hamlet once mournful and grim turns revengeful‚ he promises the ghost to “sweep” to revenge. But he is tormented with doubts. The ghost has taken its toll on Hamlet but has not been convincing enough‚ he cannot fully trust it given that it might also be an evil spirit willing to make him
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contradiction as it’s already alive to the fact that the color of blood is normally red. There will emerge a conflict as the knowledge already registered in the mind did not match with the physical. This comes with the issue of imagination where an imaginary world is created in the mind of a person where there is a contradiction lurking in the description. The idea of zombie is very useful. Zombies bring out the other world where no conscious existed. This is depicted from their inability to have sensations
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Crazy or Not: Don Quixote and the Real World There have been a number of well-known “mad men” over the course of time‚ a list made up of autocratic rulers‚ serial killers‚ mad scientists and other psychopaths who became infamous because of their violation of human rights and disregard for human life. Caligula‚ a Roman emperor in the early centuries‚ was notorious due to his cruelty and sadistic tendencies‚ extreme extravagance‚ and sexual perversity. Much later in the eighteenth century came Napoleon
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Lumen naturalis: intuition‚ habitus and imagination What is it that sometimes allows the ’question’ that is posed through a musical challenge - a new compositional idea‚ a new musical instrument to master‚ a new improvisational situation - what in these moments is it that sometimes makes the answer emerge with the question‚ in a way similar to how Descartes conceived of the fundamentals of scientific knowing? Just like to Descartes who would refer to it in terms of lumen naturalis (natural light)
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Richard L. W. Clarke LITS3304 Notes 12B 1 STUART HALL “CULTURAL IDENTITY AND DIASPORA” (1993) Hall‚ Stuart. “Cultural Identity and Diaspora.” Colonial Discourse and Post-colonial Theory: a Reader. Ed. Patrick Williams and Chrisman. London: Harvester Wheatsheaf‚ 1994. 392-401. In this essay‚ Hall considers the nature of the “black subject” (392) who is represented by “film and other forms of visual representation of the Afro-Caribbean (and Asian) ‘blacks’ of the diasporas of the West” (392). “Who
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poetry of “Frost at Midnight” and “This Lime-tree Bower My Prison” to just name a few. Samuel Coleridge was recognised for his romantic and a natural conversational type of poetry. 1. Coleridge’s poetry draws the audience into his imaginary world in a poem such “Frost at Midnight”‚ which is using the journey to reach enlightenment and through it we the audience are able to realise some of the values we hold as human being like our family‚ loved ones‚ freedom and security. For an
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Both Buddha’s attitude of mind and his Theravada teachings‚ specify that each of us is capable of achieving Nirvana in this lifetime‚ if one follows the correct Path. Claimed by the Buddha‚ Nirvana means the highest state one can attain. It is the complete cessation of that very ’thirst’ (fa!Jhii)‚ giving it up‚ renouncing it‚ emancipation from it‚ detachment from it (Rahula36). In addition‚ comparisons between the “Buddhist Attitude of Mind”‚ with the Theravada teachings of the Buddha are: Tolerance
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the function by substituting values in for x (inputs) and finding the corresponding y values (outputs). Plot these points and join them up to obtain the graph of the function Vertical line test: If any imaginary vertical line cuts the graph at only one point then it is a function. If any imaginary vertical line cuts the graph
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of materialism‚ avarice‚ and lust is necessary “in order to learn to love the world‚ and no longer compare it with . . . some kind of desired imaginary world” (116)‚ because the mere presence of materialism‚ avarice‚ and lust means that they are the world‚ the very same one that also possesses the qualities of love and jollity that are desired in an “imaginary world” (116). Concepts like this can be taught‚ but can never be understood unless thoroughly considered. Hence teaching is still important
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the poems ’Road Not Taken’ by Robert Frost and ’Journey to the Interior’ by Margaret Atwood‚ support this idea as these texts include the protagonist having embarked on not only physical and interior journeys in reality but also imaginary. The journey is known to be imaginary for the audience‚ but for the characters of the text these journeys have led them to be in a different stage in life‚ not only physical but internally‚ evolving into different people or having what become completely different
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