References: Baggett‚ D. & Drummin‚ W. A eds. (2007) Hitchcock and Philosophy: Dial M for Metaphysics Bersani‚ L. & Dutoit‚ U. (2004) Forms of Being: Cinema‚ Aesthetics‚ Subjectivity. London: BFI Biderman‚ S‚ & Jacobowitz‚ E. (2007) Rope: Nietzsche and the Art of Murder (chap. 3) in Hitchcock and Philosophy Curran‚ A & Wartenberg‚ T. Eds. (2005) The Philosophy of Film‚ introductory text and readings Currie‚ G. (1995) Image and Mind: Film‚ Philosophy and Cognitive Science Cambridge University
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spread in the family. Being ill himself and depressed by his sister’s deteriorating condition‚ Roderick seeks help from his childhood companion‚ which appears to be the narrator in the story. That companion is about to be drawn into the mind of a madman‚ where fantasy becomes reality. The fact that the story is told in the first person‚ by that narrator‚ has some important effects on the reader and on the story itself. In this story‚ the narrator is a character of whom we know very little‚ who acts
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(which Nietzsche viewed as the fourth part’s "proper title in view of what already transpired and what follows" in the text as we find it abridged today). As an interlude‚ it bastardises the integrity of the previous three books if they are viewed as an artistic whole‚ and was only published in Nietzsche’s lifetime as a private run of 40 copies and only seven copies were circulated amongst Nietzsche’s close friends (and they were admonished to keep the fourth part’s existence secret). Nietzsche did
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The “Tell Tale Heart” by Edgar Allan Poe is the story of the perfect murder. The narrator is a madman and the only person capable of unfolding the events leading and following the murder. Poe’s use of characterization allows the story to be narrated through the mind of a madman. The raconteur is “very dreadfully nervous” (41) as he starts the case to prove his sanity. Poe does not give the reader much information pertaining to the narrator. The reader can gather that the storyteller believes
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“Once upon a time‚ in some out of the way corner of that universe which is dispersed into numberless twinkling solar systems‚ there was a star upon which clever beasts invented knowing” (Nietzsche‚ “On Truth and Lies in a Nonmoral Sense” L.10). There is no better way to begin this paper‚ for all the concepts that I write down are inherently trivial and hold no cosmological significance. The inevitable extinction of consciousness is impartial to this expression of my collective synapses. I hope that
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Maggie Smith is a 21st century American poet and author. She received a BA from Ohio Wesleyan University and a MFA from Ohio State University. Besides being the author of Good Bones (Tupelo Press‚ 2017)‚ her other works were‚ The Well Speaks of Its Own Poison (Press‚ 2015)‚ and‚ “Lamp the Body (Red Hen Press‚ 2015). She has accumulated numerous writing awards‚ and has been a freelance writer‚ teacher and editor. She resides in Bexley‚ a suburb of Columbus‚ Ohio. (“Extending Bio”) Good Bones
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struggling through life a person can find no meaning or value to the life they lead. Some of these themes had already been introduce before Jean-Paul Sartre came up the additions. The philosophers‚ Arthur Schopenhauer‚ Søren Kierkegaard‚ and Friedrich Nietzsche were the contributors to these themes. All three had a strong distaste for the optimistic idealism of Georg Wilhelm Friedrich Hegel and for metaphysical systems in general. Such philosophy‚ they thought‚ ignored the human predicament. For all three
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we have not found out the universal meaning of human life‚ we must look at meaning for the individual. There are countless philosophers who devoted much of their life to solving this problem. Three of the more well know philosophers are Paley‚ Nietzsche and Tolstoy. Although the three claim to have discovered the meaning of life‚ they all have differing theories. Paley takes the stance that only a few key things need to be in place for one to have a sense meaning in life. It is simple‚ “private
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“The Ideal Person” Nietzsche’s Ubermensch concept of the “ideal person” was able to achieve self-actualization‚ and has developed himself holistically. What Nietzsche meant by achieving self-actualization was to achieve one’s full potential through creativity‚ independence‚ spontaneity‚ and a grasp on the real world. I see an ideal person as someone who surrounds themselves with happiness and love even with no money or fame. Most people consider the ideal person beautiful and rich. But as
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based on this revelation. (Lamont 130-31) Wiesel is‚ therefore‚ interested in exploring this type of madness‚ the mystical rather than the clinical madness. As noted early in this paper‚ Wiesel describes the difference between the two: “A clinical madman isolates himself and others‚ while a mystical one wants to bring the Messiah” (Artist as Witness 189). Wiesel further argues that
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