Platos Theory Of The Forms Essays - Afterlife, Platonism

Platos Theory of The Forms PLATOS THEORY OF THE FORMS In The Phaedo, Plato explains his theory of forms and ideas concerning the mortality of the soul. We find that the soul and body are separate and that the soul lives after death and had lived before. This leads us to the idea of forms and how we acquire the knowledge of these before birth. The only time the soul is separate from the body is in death. Since the soul can only obtain knowledge of forms when it is away from the body, we understand that after death is the only time when the soul can acquire this information. The intellect loses these ideas of forms when it is born unto a physical body. Although forgotten, the soul still holds this knowledge and what is known as learning is actually remembering, or recollecting, the knowledge we lose at birth. These forms give us ideas of how we should relate objects to one another. For example, we know that a certain colour is red eventhough its not a pure red. When we see a red chair we recollect the form of red from our past knowledge of the soul. These forms are abstract ideas that hold true throughout each soul and are something that the physical body can never know. Since we only have an idea of these forms, we can never experience a true form with our senses. Our senses give us an understanding of the physical world at any given moment, but the physical world is constantly changing, so our senses can never let us experience the world as it truly is. Our senses can only let us experience how the world was at a particular moment. The soul acts as a container, for this knowledge and keeps it through each bodily life. One argument against these ideas is that the soul would not be strong enough to survive the destruction of the body. This can not be true because the soul directly controls the motions of the body; for the soul can will the body in any way it chooses and may oppose the body at any point. The attunement theory explains that the soul cannot be destroyed by death. It compares the soul and the body to a string instrument, i.e. a lyre, and when the lyre is destroyed, so is the harmony, as with the body. The harmony of an instrument is a composite thing, which the soul is not. Composites cannot preexist their components. When the lyre is destroyed, so is the harmony; however, the soul cannot be destroyed for it is not a composite thing such as harmony, which means the soul is able to preexist its component (the body). Another argument is that the body may only be a garment for the soul. The garment will wear out eventually and the tailor that made this garment will also expire at some point. Suggesting that the body is a garment and the soul is a tailor, it may be the case that although the soul may exist after death, it may not exist infinitely, and eventually expire. Since the soul can oppose the body, the soul chooses to admit death. If the soul admits death, then the soul may perish. If the soul does not admit death, the soul is deathless, and if the soul is deathless then the soul is indestructible. Our souls know the concept of the forms, and are the same throughout all souls. Since we cannot change the concept of these forms without creating confusion, all souls must have gotten this shared knowledge when the soul was separate from the body, i.e. death and before life. From this we understand that forms exist and as we learn we recollect these forms throughout our bodily life.

How to Tie a Windsor Knot Essay Essays

How to Tie a Windsor Knot Essay Essays How to Tie a Windsor Knot Essay Essay How to Tie a Windsor Knot Essay Essay Do you desire to be respected? Do you desire grownups to halt handling you like some cockamamie small child? Well so have on a tie. Neckties are a great manner to demo everyone that you are serious! They are a symbol of power and authorization. Think about it. everyone who has any power wears a tie. The president wears ties every twenty-four hours and even military functionaries are given a tie as apart of their uniform. Unfortunately to have on a tie you must cognize how to bind a tie. but do non fear I am here to assist. Here is a list of measure by measure instructions to assist you larn how to bind a tie. Just purchase the tie of your pick and your ready to travel. The Windsor KnotMaterials: For a Windsor knot you must first purchase a necktie. Measure 1: Topographic point the broad terminal of the tie on your right side and the scraggy terminal on your left side. Measure 2: Traverse the broad terminal over the scraggy terminal. The broad portion should be on top of the scraggy portion. The broad tip should be touching your left side and the scraggy portion should be touching your right side. Measure 3: Bring the broad in through the expression at the centre of your cervix. You should convey the broad in through the rear of the cringle. Pull the broad in all the manner through the cringle around your cervix. Measure 4: Once the broad terminal has been pulled through. topographic point the broad terminal one time once more in your right manus and the scraggy terminal in your left manus. Measure 5: Now put the broad terminal behind the scraggy terminal. DO NOT GO THROUGH THE LOOP AGAIN! Then put the broad terminal in your left manus and the scraggy terminal in your right manus. Measure 6: Then take the broad terminal and topographic point it through the cringle once more. but this clip through the front terminal of the cringle. At this point the scraggy terminal shouldbe in forepart of the broad terminal. Measure 7: Following wrap the broad terminal around the knot. Once your broad portion hits the dorsum of the knot draw the broad subdivision through the back side of the cringle. Measure 8: Now open the top portion of the knot and glide the broad portion of your tie through. Adjust to suit. Now retrieve ties are a great manner to look serious. So be prepared for people to halt and notice on how sophisticated you look! Now go place and pattern binding your tie.

Questions to Ask When Writing an Essay. EssaySupply.com

Questions to Ask When Writing an Essay Questions to Ask When Writing an Essay Most teachers do not make use of a very important aspect of writing essays and papers. And that aspect is that the student should ask him/herself questions as a pre-writing preparation. Asking these questions will ultimately result in a better piece of writing. So, here are questions you should ask yourself as you get ready to write any essay or paper. Topic You may have a general topic area but within that topic area, you will need to select a smaller sub-topic for your essay or paper. Here is what you need to ask yourself: What sub-topic will interest me the most? Check through your text and lecture notes for topic ideas, and pick one in which you have good interest. Writing an essay or paper on a topic you don’t like is like getting a root canal – painful, very painful! Is there enough information on the topic to fulfill the length requirement? If you need an 8-page paper on the Civil War, the Battle of Antietam will probably not cut it. Before you finalize your topic, check out what’s available for resource information. Thesis Statement Every essay or paper has to have a thesis statement. So, here is what you need to ask as you formulate that statement: Why is it important for the reader to know this? What is the main point I am trying to make? What is my opinion about this topics? Resources There may be a large number of potential resources to use, but they are not all created equal. By the time you are in college, you can dump the idea of using encyclopedias of any kind. They are not appropriate for the type of research expected of you. So, here are your questions? Is the author of this book or journal article considered an expert on this topic? Can I find and use primary resources on this topic? If I have to use only secondary resources, are these the most current and relevant? Choose your resources wisely – your professor will expect them to be of high quality. Organizing Your Information Before you make an outline for writing, ask yourself the following: Should the information or data be organized sequentially? In what order should the points I make be given? Most important to least important, or the other way around? After the Rough Draft is Finished You know you are not going to turn in the first draft of whatever you write. You have to review it and fix your errors – structural and grammatical. So, as you read through that draft, ask yourself the following: Do I have a logical flow of the points I am making? Do I have good transitional sentences between paragraphs and, for longer works, sections? Have I varied the length of my sentences? Does my introduction begin with something that will capture the reader’s attention right away? Have I stated my thesis in the introduction and made it very clear? Have I used spell and grammar checkers to catch errors? Asking the right questions gets you to a â€Å"better place† in your writing and, ultimately a better grade. If you have any concerns about your topic, resources, or the quality of your writing, send it over to some good  custom writing services like for a full review and edit. It will be returned to you polished and ready to go!

What I have learned from men Research Paper Example | Topics and Well Written Essays - 1000 words

What I have learned from men - Research Paper Example In my opinion, most of her arguments are valid however she overlooks certain facts by making false generalizations. The article deserves a lot of credits since it offers a clear explanation to the topic. The writer has used both a sarcastic and a serious tone to drive her message home. It is a dependable source of information for the topic since it gives credit where it is due. The author does not favor any gender and she criticizes both men and women characters. Although her main aim is to explain the fact that women should change their characters, she does not appreciate a woman’s natural character. As a woman writer, it is expected that she would defend women but instead she criticizes them. This criticism allows the reader to explore her views more closely and to clarify her views. Ehrenreich does not agree with the fact that women are the way they are because they were created that way. She considers that as a fallacy and takes firms stands to her arguments. I accord with most of her arguments, but she seems to get the fact of diversity wrong. Men and women are naturally different and very diverse in their character. However, she does not seem to give value to diversity, and her believe is that women are the way they are because they haven’t tried changing. Ehrenreich is very bitter about the expectation of the society that women should always act in a soft manner. She reiterates that it is not the job of a woman to be polite. The writer seems to have little discernment for politeness, and all her emphasis is on women and men equality. She considers that if women get to be harsh like men, gender equality will be achieved and gender-based exploitation will be history. She strongly criticizes the normality of women being soft in conversations. She does not see the reason why women should act ‘good’ by being soft and yet they it has little or no benefit

Evidence based nursing practice Research Paper Example | Topics and Well Written Essays - 750 words

Evidence based nursing practice - Research Paper Example 10). DESCRIPTION Evidence based nursing practice is the application of nursing practice based on information gathered from researches (McCann, 2007, p. 2). Usually, this information came from nurses’ experiences in the health care setting. Research data help nurses in deciding appropriate patient care and tend to be more updated than reference books. In conducting evidence based nursing practice project, the basic steps involved are: clinical question formulation, searching and reviewing articles on that clinical question, critical evaluation and comparison of the articles, application of the information from the articles, and outcome evaluation of the changes made in local practice (McCann, 2007, p. 5). Developing a clinical question may arise from clinical practice or to an area where an individual wants to gain awareness. To start a clinical question, it must be specific, concrete, and pointing relationship between patient and exposure. The formulation of an outcome and fac tors to consider are also included in the first step. After establishing clinical questions, the nurse will have to review relevant articles to use. Online indexes, published journals, books, and other references serve as databases and will help in broadening knowledge about the research topic. The next step is critical evaluation and comparison of the articles. In this step, the nurse must make sure that articles were published in peer-reviewed journals, that is, outside experts had reviewed the article prior to publication (McCann, 2007, p. 6). Articles are examined for quality indicators such as validity and reliability. If found out that the information from the article is valid and reliable, the information from the article is applied. Then, outcomes are further evaluated depending on the patient’s response. The response of the patient serves as gauge line for measuring initial objectives. Documentation must be concise and objective, and additional information are implem ented as new heath practice. In 2008, Reavey and Tavernier conducted a study comprising the team formation of staff nurses, unit nurse manager, clinical nurse specialist, nurse researcher, and infection control nurse. The clinical question is to identify the best practice for frequency of central line dressing changes in severely neutropenic patients. The current policy, which is daily dressing changes, resulted in skin breakdown and increases the chance for infection. The patients were dissatisfied also with the frequency and discomfort due to skin breakdown. The team conducted a literature search of relevant evidence. Based on the literatures, the team came up with a proposal that central line dressings must be changed every 7 days or as needed, and gauze dressing changes every 2 days. The expected outcomes were reduced cost spent in supplies and less nursing time required, as well as decreased infection and skin breakdown. The team implemented the proposal and conducted a pilot s tudy measuring outcomes. During 6 months of trial, blood stream infection rate is 4 per 1,000 line days, which is below the benchmark. Based on this result, the current health policy on central line dres

James Joyces Dubliners - Adolescent Initiation Portrayed in Araby Essa

Adolescent Initiation Portrayed in Araby  Ã‚  Ã‚  Ã‚   "Araby" tells the story of an adolescent boy's initiation into adulthood. The story is narrated by a mature man reflecting upon his adolescence and the events that forced him to face the disillusioning realities of adulthood. The minor charac ­ters play a pivotal role in this initiation process. The boy observes the hypocrisy of adults in the priest and Mrs. Mercer; and his vain, self-centered uncle introduces him to another disillusioning aspect of adulthood. The boy's infatuation with the girl ultimately ends in disillusion ­ment, and Joyce uses the specific example of the boy's disillusionment with love as a metaphor for disillusionment with life itself. From the beginning, the boy deludes him ­self about his relationship with Mangan's sister. At Araby, he realizes the parallel between his own self-delusion and the hypocrisy and vanity of the adult world. From the beginning, the boy's infatuation with Mangan's sister draws him away from childhood toward adulthood. He breaks his ties with his childhood friends and lux ­uriates in his isolation. He can think of nothing but his love for her: "From the front window I saw my companions playing below in the street. Their cries reached me weak ­ened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived." The friends' cries are weak and indistinct because they are distant emotionally as well as spatially. Like an adult on a quest, he imagines he carries his love as if it were a sacred object, a chalice: "Her image accompanied me even in places the most hostile to romance†¦. I imagined that I bore my chalice safely through a throng of foes." Even in the active, distracting market... ...se and that he was someone else. His disillusionment with love is then extended to life in general. Seeing the last rays of hope fading from the top floors of Araby, the boy cries: "I saw myself as a crea ­ture driven and derided by vanity; and my eyes burned with anguish and anger." At last he makes the connection—by deluding himself, he has been hypocritical and vain like the adults in his life. Before these realizations he believed that he was driven by something of value (such as purity of love), but now he realizes that his quest has been in vain because honesty, truth, and purity are only childish illusions and he can never return to the innocence of childhood. Works Cited: Joyce, James. â€Å"Araby.† The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton. James Joyce's Dubliners - Adolescent Initiation Portrayed in Araby Essa Adolescent Initiation Portrayed in Araby  Ã‚  Ã‚  Ã‚   "Araby" tells the story of an adolescent boy's initiation into adulthood. The story is narrated by a mature man reflecting upon his adolescence and the events that forced him to face the disillusioning realities of adulthood. The minor charac ­ters play a pivotal role in this initiation process. The boy observes the hypocrisy of adults in the priest and Mrs. Mercer; and his vain, self-centered uncle introduces him to another disillusioning aspect of adulthood. The boy's infatuation with the girl ultimately ends in disillusion ­ment, and Joyce uses the specific example of the boy's disillusionment with love as a metaphor for disillusionment with life itself. From the beginning, the boy deludes him ­self about his relationship with Mangan's sister. At Araby, he realizes the parallel between his own self-delusion and the hypocrisy and vanity of the adult world. From the beginning, the boy's infatuation with Mangan's sister draws him away from childhood toward adulthood. He breaks his ties with his childhood friends and lux ­uriates in his isolation. He can think of nothing but his love for her: "From the front window I saw my companions playing below in the street. Their cries reached me weak ­ened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived." The friends' cries are weak and indistinct because they are distant emotionally as well as spatially. Like an adult on a quest, he imagines he carries his love as if it were a sacred object, a chalice: "Her image accompanied me even in places the most hostile to romance†¦. I imagined that I bore my chalice safely through a throng of foes." Even in the active, distracting market... ...se and that he was someone else. His disillusionment with love is then extended to life in general. Seeing the last rays of hope fading from the top floors of Araby, the boy cries: "I saw myself as a crea ­ture driven and derided by vanity; and my eyes burned with anguish and anger." At last he makes the connection—by deluding himself, he has been hypocritical and vain like the adults in his life. Before these realizations he believed that he was driven by something of value (such as purity of love), but now he realizes that his quest has been in vain because honesty, truth, and purity are only childish illusions and he can never return to the innocence of childhood. Works Cited: Joyce, James. â€Å"Araby.† The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton.

The Educational Value of Play as Work and Work as Play

Introduction Arguably play performs a vital important role in the education and personal development of the child which can be incorporated within a wider educational framework both on its own as a child-led activity and as part of a curriculum. Play helps a child to develop social skills as well as their imagination, language skills, capacity for problem solving and motor skills. Play enhances a child’s capacity for creativity, which is a vital skill in later adult life. Play is best appreciated when it allows the child to interact with the wider world through a free exploration of the objects and phenomena they encounter which is completely in line with their natural tendency to want to explore the world. Play also allows for a process of socialization whereby the child can develop their emotional expression and ability to empathize with other children through helping and sharing activities. The Italian educationalist Maria Montessori argued that a child led form of play is crucial and helps the individual to develop by organizing experiences through an engagement of the body and mind. This led Montessori to declare that ‘play is the work of the child’. In line with this approach, it will here be argued that play is vital to a child’s educational development. At the same time, in line with the eyfs curriculum, it is arguably beneficial if play is monitored so as to allow for an element of ’progression’ in the child’s learning activity. Though, arguably, this should not completely replace the child’s tendency to play freely without aim, which is a valuable experience. In my own childhood experience the ability to play without aim alone or with others was crucial to my creative learning as well as helping me to create social skills. Tina Bruce, author of Early Childhood Education (2004) argues that: â€Å"Children learn best when they are given appropriate responsibility, allowed to make errors, decisions and choices, and respected as autonomous learners†, (Bruce, Learning Through Play, 7). Bruce continues to say that relationships are central to a child’s ability to play and learn effectively. Therefore it will be ultimately concluded here that the adults who have important roles in a child’s life are required to secure a stable and happy environment for the child to play, whilst monitoring that play to ensure a progression in the child’s development. It will also be argued that ‘play’ and ‘work’ are ambiguous categories which – in line with Montessori’s thought – should be allowed to overlap. Body Play has several identifiable purposes which help children to develop into individuals capable of interacting within a wider social community. Firstly, it helps to enhance rational thought processes, developing the ability to formulate abstract concepts, making sense of the world of objects and developing problem solving skills. Through play children develop the ability to make decisions based on an increasing awareness of their physical environment. It is important to recall at this stage that, as Bruce argues: â€Å"Subjects such as mathematics and art cannot be separated; young children learn in an integrated way and not in neat, tidy compartments,† (Bruce, Learning Through Play, 7). Play also helps children to develop coordination skills by using the muscles necessary to perform simple everyday activities. These ‘motor skills’ can be enhanced through grabbing, pushing and holding objects in everyday play and include ‘gross motor skills’ and ‘fine motor skills’, including hand-to-eye coordination. Random play is important in this process, though so is sport played to rules, which also helps to build team skills which are vital for social education. Language and communication skills are also enhanced through play, whether through direct interaction with word cards or through talking and negotiating during organized or free role play. Similarly, emotional skills are developed through play as the child learns how to interact with others and to compromise in sharing and waiting their turn. By interacting with other children around objects important lessons are learned about fair behaviour around limited resources. As children interact with their environment and with other children and adults they develop the seeds of personality, learning self-confidence, independence and ways of creative expression. Play is often divided into categories, with each category being thought to be better at developing specific aspects of the young child’s personality and physical capacity. As Dr. David Whitbread argues in a study conducted to assess the value of children’s play, five categories are often identified: â€Å"physical play, play with objects, symbolic play, pretence/ socio-dramatic play and games with rules† (Whitbread, 18). So while physical play will be ideal for developing motor skills, symbolic play will be ideal for developing language and imagination skills. However, there is also a strong crossover between different types of play and to restrict or categorize them strictly might interfere with the child’s creativity. For example, symbolic play (using symbolic codes such as â€Å"spoken language, reading and writing, number† etc) may interact with physical play to become a kind of dance routine. The risk of very structured play is that these slip pages between different types of learning will arguably not have the ability to emerge, and it is therefore of great importance that the level of monitoring allowed for under the eyfs curriculum does not interfere with the natural inclinations of the young learner to discover for themselves. Here it is important to note the great crossover between ‘play’ and ‘work’ and the way in which a child’s natural tendency to make play become work – and vice versa – should not be hampered. To highlight this it is worth considering the way in which Montessori noted that children often gravitated to educational word play over playing with toys, drawing some interesting conclusions. In The Secret of Childhood she observed: â€Å"Though the school contained some really wonderful toys, the children never chose them. This surprised me so much that I myself intervened, to show them how to use such toys [†¦] The children showed interest for a time, but then went away, and they never made such toys the objects of their spontaneous choice. And so I understood that in a child’s life play is perhaps something inferior, to which he has recourse for want of something better†¦Ã¢â‚¬  (Montessori, 128) Whilst this has been taken as indicating that Montessori felt children should work and not play, what is arguably intended, rather, is that children when left to their own devices will make work of play and play of work. In this sense Montessori felt that children engage in play seriously with the intent of interpreting the world via its objects. Children ultimately play in order to become adults, so play for them is a type of work. Yet similarly, work – in its absolute necessity for the child’s own development – is a type of play in that it is something they wholeheartedly and joyfully want to interact in. In light of this it is important that the child is permitted to choose their own play – which to them is something serious – and is, further, allowed to make their own mistakes so that they can prepare themselves for adult work, learning that mistakes can lead to new pathways. In this moment of childhood, where – provided the child has a safe environment – mistakes are rarely detrimental to the situation at hand (i.e learning), much can be earned without risk. As such, a strong ability to manage uncertainties and disappointments can be fostered. Allowing a child to slip from one activity to another is also crucial as it allows a child to freely express themselves and show who they are and who they want to become. In his famous TED talk, the educator Sir Ken Robinson spoke of the case of a dancer called Gillian, who at school was referred with her mother to a doctor because she couldn’t concentrate in class. After talking with Gillian and her mother for twenty minutes, the Doctor asked Gillian’s mother to step outside the room. Before stepping outside he turned the radio on and then, with Gillian’s mother, watched Gillian inside the room, who began to dance. The doctor then said, â€Å"Mrs. Lynne, Gillian isn’t sick; she’s a dancer. Take her to a dance school†, (School Kills Creativity, 2006). What this tells us is that if students are strictly required to engage in on or other activity at a time and are punished for straying outside the strict confines of a learning or playing activity they be wrongly categorized as disruptive when, in reality, they merely wish to express their true aptitude for a specific field of work. Conclusion As has been argued, play is essential to education and children should be allowed to play freely with a minimum amount of monitoring in order to ensure that this play leads to a progression in learning, in line with the findings of Bruce. It must also be note, in line with Montessori’s findings, that there is a big slippage between play and work and that children should be allowed to flow from different types of play and from playful work to serious play and vice-versa. As such the free movement of the child’s imaginative impulses should be encouraged as part of the efs with a wide interpretation being given to the role of ‘progression’ through play based learning activities, so that maximum freedom can be allowed for. In this way the child can be allowed to develop according to their own specific needs and modes of expression. Bibliography Bruce, T. 2011. Early Childhood Development. Hodder Education Bruce, T. Learning Through Play, last accessed 7th December 2014, http://www.nicurriculum.org.uk/docs/foundation_stage/learning_through_play_ey.pdf Montessori, M. 1978. The Secret of Childhood. Orient Longman, Hyderabad Schools Kill Creativity, last accessed 8th December 2014, http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity/transcript?language=en#t-993000 Whitbread, D. The Importance of Play, last accessed 7th December 2014, http://www.importanceofplay.eu/IMG/pdf/dr_david_whitebread_-_the_importance_of_play.pdf