Oedipus The King Essays (1083 words) - Oedipus The King, Oedipus

Oedipus the King Oedipus the King The occasions in Oedipus the King, composed by Sophocles, show a fundamental relationship of man's through and through freedom existing inside the enormous request or destiny which the Greeks accepted guided the universe in an agreeable reason. Man was allowed to pick and was at last held answerable for his own activities. Both the idea of destiny and through and through freedom had an itregal impact in Oedipus' annihilation. In spite of the fact that he was a casualty of destiny, he was not constrained by it. Oedipus was predetermined from birth to sometime wed his mom and to kill his dad. This prediction, as cautioned by the prophet of Apollo at Delphi was unlimited and definitely would happen, regardless of what he may have done to keep away from it. His past activities were controlled by destiny, yet what he did in Thebes, he did as such of his own will. From the earliest starting point of this catastrophe, Oedipus took numerous activities prompting his own ruin. Oedipus could have paused for the plague to end, yet out of empathy for his enduring individuals, he had Creon go to Delphi. At the point when he learned of Apollo's assertion, he could have smoothly examined the homicide of the previous King Laius, however in his quickness, he energetically reviles the killer, and in this way, unconsciously reviles himself. Upon the killer I summon this revile whether he is one man and all obscure, or then again one of many-may he destroy his life in hopelessness or fate! In the event that with my information he inhabits my hearth, I implore that I myself may feel my revile. (pg. 438; lines 266-271) All together for Sophecles' Greek crowd to identify with the appalling figure, he needed to have some kind of imperfections or an blunder of ways. This brought the character down to a human level, conjuring in them the dread that it could happen to them. And Oedipus positively isn't one without defects. His pride, ingnorance, rudeness and mistrust in the divine beings, and tenacious mission for reality eventually contributed to his destuction. At the point when Oedipus was told (in the wake of compromising Teiresias), that he was answerable for the homicide of Laius, he got chafed and considers the old prophet a liar. He fled from his home, Corinth, in trusts of outfoxing the divine beings perfect will. Like his dad, Oedipus likewise looked for approaches to get away from the loathsome predetermination told by the prophet of Apollo. The melody cautions us of man's have to have veneration for the divine beings, and the risks of a lot of pride. In the event that a man strolls with haughtiness of hand or word and gives no notice to Justice and the places of worship of Gods detests may a malevolence fate destroy him for his badly featured pride of heart!- in the event that he harvests gains without equity and won't hold from profanity and his fingers tingle for unapproachable things. At the point when such things are done, what man will create to shield his spirit from the poles of the God? (pg. 452; 975-984) Oedipus' resolute want to reveal the truth about Laius' homicide and the secret encompassing his own introduction to the world, drove him to the appalling acknowledgment of his horrendous deeds. Teiresias, Jocasta also, the herder attempted to prevent him from seeking after reality. Take for instance a piece of the last discussion among Jocasta and Oedipus. In the wake of figuring it out that the prediction had worked out, Jacasta implores him to simply let the puzzle go unsolved for once. I implore you-don't chase this out-I beseech you, on the off chance that you have any consideration for your own life. What I am enduring is sufficient. (pg. 461; 1158-1161) Oedipus answers, I won't be convinced to let possibility of finding out the entire thing plainly. (pg. 461; 1166-1167) He can't stop his journey for reality, much under his better half's arguing. For it is in his own vain that he should tackle the last conundrum, the question of his own life. Endless supply of reality of his introduction to the world from the herder, Oedipus cries, I who initially observed the light reared of a coordinate detestable, and abhorrent in my living with them, reviled in my slaughtering. (pg. 465; 1300-1303) Oedipus realized that his destiny had in fact happened what's more, feels reviled by it. The ensemble at that point sings a tribute on the distress of life also, the unfortunate destiny to which even the most respected, similar to Oedipus are at last subject. What man, what man on earth wins more satisfaction than an appearing furthermore, after that dismissing? Oedipus you are my example of this, Oedipus you and your destiny! Cursed

Technology impact on children in USA Research Paper

Innovation sway on youngsters in USA - Research Paper Example As opposed to investing heaps of energy in PC and TV, it is likewise essential for kids to invest their time in different exercises. It can likewise make negative effect on youngsters. Youngsters investing enormous whole of energy in TV and Computer are inclined to get fat. In spite of having some negative effect, PC games can assist youngsters with learning new things. Youngsters think that its simpler to gain from innovation. PC games additionally have some negative effect on kids. Some vicious games can influence the mindset of kids and would now and then lead to increment in forceful conduct and increment in forceful sentiments. True viciousness appeared in numerous rough games can change the conduct of kids in to forceful. Some review uncovered that amplify utilization of person to person communication locales and entomb net can prompt aloneness and sorrow. Kids are too little to even think about visualizing the distinction between genuine world and virtual world. Fierce forceful reaction appeared in game games can make trouble on brain of youngsters to check distinction of reenactment and genuine world. Innovation holds a vital job for the advancement of youngsters to adolescent. Innovation can have positive and negative effect on development of youngsters to adolescent. In has been studied in the year 1999, level of youngsters having gaming console in 67%. 60% of the youngsters have home PCs. Also, o ver 37% of youngsters are somehow associated with web. Late overview uncovers the fame and habit of PC and web among kids. Kids matured somewhere in the range of 8 and 18 are asked that, on the off chance that they are taken in to abandon isle, at that point what things they would convey with them. The majority of the youngsters answered access to web and PC. The compulsion and ubiquity of innovation had made kids lazier. The expansion in presentation to electronic gadgets would make negative effect on the improvement of kids at more youthful age. Innovation isn't the arrangement that would

Biological Preparedness and Classical Conditioning

Biological Preparedness and Classical Conditioning More in Theories Behavioral Psychology Cognitive Psychology Developmental Psychology Personality Psychology Social Psychology Biological Psychology Psychosocial Psychology Biological preparedness is the idea that people and animals are inherently inclined to form associations between certain stimuli and responses. This concept plays an important role in learning, particularly in understanding the classical conditioning process. Some associations form easily because we are predisposed to form such connections, while other associations are much more difficult to form because we are not naturally predisposed to form them. For example, it has been suggested that biological preparedness explains why certain types of phobias tend to form more easily. We tend to develop a fear of things that may pose a threat to our survival, such as heights, spiders, and snakes. Those who learned to fear such dangers more readily were more likely to survive and reproduce. Biological Preparedness Working With Classical Conditioning One great example of biological preparedness at work in the classical conditioning process is the development of taste aversions. Have you ever eaten something and then gotten sick afterward? Chances are probably good that you avoided eating that particular food again in the future, even if it was not the food that caused your illness. Why do we form associations between the taste of food and illness so easily? We could just as easily form such associations between people who were present when we became ill, the location of the illness, or specific objects that were present. Biological preparedness is the key. People (and animals) are innately predisposed to form associations between tastes and illness. Why? It is most likely due to the evolution of survival mechanisms. Species that readily form such associations between food and illness are more likely to avoid those foods again in the future, thus ensuring their chances for survival and the likelihood that they will reproduce. Many phobia objects involve things that potentially pose a threat to safety and well-being. Snakes, spiders, and dangerous heights are all things that can potentially be deadly. Biological preparedness makes it so that people tend to form fear associations with these threatening options. Because of that fear, people tend to avoid those possible dangers, making it more likely that they will survive. Since these people are more likely to survive, they are also more likely to have children and pass down the genes that contribute to such fear responses.

Biological Preparedness and Classical Conditioning

Biological Preparedness and Classical Conditioning More in Theories Behavioral Psychology Cognitive Psychology Developmental Psychology Personality Psychology Social Psychology Biological Psychology Psychosocial Psychology Biological preparedness is the idea that people and animals are inherently inclined to form associations between certain stimuli and responses. This concept plays an important role in learning, particularly in understanding the classical conditioning process. Some associations form easily because we are predisposed to form such connections, while other associations are much more difficult to form because we are not naturally predisposed to form them. For example, it has been suggested that biological preparedness explains why certain types of phobias tend to form more easily. We tend to develop a fear of things that may pose a threat to our survival, such as heights, spiders, and snakes. Those who learned to fear such dangers more readily were more likely to survive and reproduce. Biological Preparedness Working With Classical Conditioning One great example of biological preparedness at work in the classical conditioning process is the development of taste aversions. Have you ever eaten something and then gotten sick afterward? Chances are probably good that you avoided eating that particular food again in the future, even if it was not the food that caused your illness. Why do we form associations between the taste of food and illness so easily? We could just as easily form such associations between people who were present when we became ill, the location of the illness, or specific objects that were present. Biological preparedness is the key. People (and animals) are innately predisposed to form associations between tastes and illness. Why? It is most likely due to the evolution of survival mechanisms. Species that readily form such associations between food and illness are more likely to avoid those foods again in the future, thus ensuring their chances for survival and the likelihood that they will reproduce. Many phobia objects involve things that potentially pose a threat to safety and well-being. Snakes, spiders, and dangerous heights are all things that can potentially be deadly. Biological preparedness makes it so that people tend to form fear associations with these threatening options. Because of that fear, people tend to avoid those possible dangers, making it more likely that they will survive. Since these people are more likely to survive, they are also more likely to have children and pass down the genes that contribute to such fear responses.

Study Guide for Albert Camuss The Fall

Delivered by a sophisticated, outgoing, yet often suspicious narrator, Albert Camus’s The Fall employs a format that is rather uncommon in world literature. Like novels such as Dostoevsky’s Notes from Underground, Sartre’s Nausea, and Camus’s own The Stranger, The Fall is set up as a confession by a complicated main character—in this case, an exiled French lawyer named Jean-Baptiste Clamence. But The Fall—unlike these famous first-person writings—is actually a second-person novel. Clamence directs his confession at a single, well-defined listener, a â€Å"you† character who accompanies him (without ever speaking) for the duration of the novel. In the opening pages of The Fall, Clamence makes this listener’s acquaintance in a seedy Amsterdam bar known as Mexico City, which entertains â€Å"sailors of all nationalities† (4). Summary In the course of this initial meeting, Clamence playfully notes the similarities between him and his new companion: â€Å"You are my age in a way, with the sophisticated eye of a man in his forties who has seen everything, in a way; you are well dressed in a way, that is as people are in our country; and your hands are smooth. Hence a bourgeois, in a way! But a cultured bourgeois!† (8-9). However, there is much about Clamence’s identity that remains uncertain. He describes himself as â€Å"a judge-penitent,† yet doesn’t provide an immediate explanation of this uncommon role. And he omits key facts from his descriptions of the past: â€Å"A few years ago I was a lawyer in Paris and, indeed, a rather well-known lawyer. Of course, I didn’t tell you my real name† (17). As a lawyer, Clamence had defended poor clients with difficult cases, including criminals. His social life had been full of satisfactions—respect from his colleagues, affair s with many women—and his public behavior had been scrupulously courteous and polite. As Clamence sums up this earlier period: â€Å"Life, its creatures and its gifts, offered themselves to me, and I accepted such marks of homage with a kindly pride† (23). Eventually, this state of security began to break down, and Clamence traces his increasingly dark state of mind to a few specific life events. While in Paris, Clamence had an argument with â€Å"a spare little man wearing spectacles† and riding a motorcycle (51). This altercation with the motorcyclist alerted Clamence to the violent side of his own nature, while another experience—an encounter with a â€Å"slim young woman dressed in black† who committed suicide by throwing herself off a bridge—filled Clamence with a sense of â€Å"irresistible weakness (69-70). During an excursion to the Zuider Zee, Clamence describes the more advanced stages of his â€Å"fall.† At first, he began to feel intense turmoil and pangs of disgust with life, although â€Å"for some time, my life continued outwardly as if nothing had changed† (89). He then took turned to â€Å"alcohol and women† for comfort—yet only found temporary solace (103). Clamence expands upon his philosophy of life in the final chapter, which takes place in his own lodgings. Clamence recounts his disturbing experiences as a World War II prisoner of war, lists his objections to commonplace notions of law and freedom, and reveals the depth of his involvement in the Amsterdam underworld. (It turns out that Clamence keeps a famous stolen painting—The Just Judges by Jan van Eyck—in his apartment.) Clamence has resolved to accept life—and to accept his own fallen, immensely flawed nature—but has also resolved to share his troubling insights with anyone who will listen. In the final pages of The Fall, he reveals that his new profession of â€Å"judge-penitent† involves â€Å"indulging in public confession as often as possible† in order to acknowledge, judge, and do penance for his failings (139). Background and Contexts Camus’s Philosophy of Action: One of Camus’s greatest philosophical concerns is the possibility that life is meaningless—and the need (in spite of this possibility) for action and self-assertion. As Camus wrote in his tract The Myth of Sisyphus (1942), philosophical discourse â€Å"was previously a question of finding out whether or not life had to have a meaning to be lived. It now becomes clear on the contrary that it will be lived all the better if it has no meaning. Living an experience, a particular fate, is accepting it fully.† Camus then goes on to declare that â€Å"one of the only coherent philosophical positions is thus revolt. It is constant confrontation between man and his own obscurity.† Even though the Myth of Sisyphus is a classic of French Existentialist philosophy and a central text for understanding Camus, The Fall (which, after all, appeared in 1956) should not merely be taken as a fictional re-working of The Myth of Sisyphus. Cl amence does revolt against his life as a Paris lawyer; however, he retreats from society and tries to find specific â€Å"meanings† in his actions in a manner that Camus might not have endorsed. Camus’s Background in Drama: According to literary critic Christine Margerrison, Clamence is a â€Å"self-proclaimed actor† and The Fall itself is Camus’s â€Å"greatest dramatic monologue.† At several points in his career, Camus worked simultaneously as a playwright and a novelist. (His plays Caligula and The Misunderstanding appeared in the mid 1940s—the same period that saw the publication of Camus’s novels The Stranger and The Plague. And in the 1950s, Camus both wrote The Fall and worked on theater adaptations of novels by Dostoevsky and William Faulkner.) However, Camus was not the only mid-century author who applied his talents to both theater and the novel. Camus’s Existentialist colleague Jean-Paul Sartre, for instance, is famous for his novel Nausea and for his plays The Flies and No Exit. Another of the greats of 20th century experimental literature—Irish author Samuel Beckett—created novels that read a little like â€Å"dramatic monologues† (Molloy, Malone Dies, The Unnamable) as well as oddly-structured, character-driven plays (Waiting for Godot, Krapp’s Last Tape). Amsterdam, Travel, and Exile: Although Amsterdam is one of Europe’s centers of art and culture, the city takes on a rather sinister character in The Fall. Camus scholar David R. Ellison has found several references to disturbing episodes in Amsterdam’s history: first, The Fall reminds us that â€Å"the commerce linking Holland to the Indies included trade not just in spices, foodstuffs, and aromatic wood, but also in slaves; and second, the novel takes place after â€Å"the years of World War II in which the Jewish population of the city (and of the Netherlands as a whole) was subject to persecution, deportation, and ultimate death in Nazi prison camps.† Amsterdam has a dark history, and exile to Amsterdam allows Clamence to face his own unpleasant past. Camus declared in his essay â€Å"The Love of Life† that â€Å"what gives value to travel is fear. It breaks down a kind of inner dà ©cor in us. We can’t cheat any more—hide ourselves away behind the hours in the office or at the plant.† By going into living abroad and breaking his earlier, soothing routines, Clamence is forced to contemplate his deeds and face his fears. Key Topics Violence and Imagination: Although there is not much open conflict or violent action directly displayed in The Fall, Clamence’s memories, imaginings, and turns of imagery add violence and viciousness to the novel. After an unpleasant scene during a traffic jam, for instance, Clamence imagines pursuing a rude motorcyclist, â€Å"overtaking him, jamming his machine against the curb, taking him aside, and giving him the licking he had fully deserved. With a few variations, I ran off this little film a hundred times in my imagination. But it was too late, and for several days I chewed a bitter resentment† (54). Violent and disturbing fantasies help Clamence to communicate his dissatisfaction with the life he leads. Late in the novel, he compares his feelings of hopeless and perpetual guilt to a special kind of torture: â€Å"I had to submit and admit my guilt. I had to live in the little-ease. To be sure, you are not familiar with that dungeon cell that was called the litt le-ease in the Middle Ages. In general, one was forgotten there for life. That cell was distinguished from others by ingenious dimensions. It was not high enough to stand up in nor yet wide enough to lie down in. One had to take an awkward manner and live on the diagonal† (109). Clamence’s Approach to Religion: Clamence does not define himself as a religious man. However, references to God and Christianity play a major part in Clamence’s manner of speaking—and help Clamence to explain his changes in attitude and outlook. During his years of virtue and altruism, Clamence took Christian kindliness to grotesque proportions: â€Å"A very Christian friend of mine admitted that one’s initial feeling on seeing a beggar approach one’s house is unpleasant. Well, with me it was worse: I used to exult† (21). Eventually, Clamence finds yet another use for religion that is admittedly awkward and inappropriate. During his fall, the lawyer made references â€Å"to God in my speeches before the court†Ã¢â‚¬â€a tactic that â€Å"awakened mistrust in my clients† (107). But Clamence also uses the Bible to explain his insights about human guilt and suffering. For him, Sin is part of the human condition, and even Christ on the cross is a figure of guilt: â€Å"He knew he was not altogether innocent. If he did not bear the weight of the crime he was accused of, he had committed others—even though he didn’t know which ones† (112). Clamence’s Unreliability: At several points in The Fall, Clamence acknowledges that his words, actions, and apparent identity are of questionable validity. Camus’s narrator is very good at playing different, even dishonest roles. Describing his experiences with women, Clamence notes that â€Å"I played the game. I knew they didn’t like one to reveal one’s purpose too quickly. First, there had to be conversation, fond attentions, as they say. I wasn’t worried about speeches, being a lawyer, nor about glances, having been an amateur actor during my military service. I often changed parts, but it was always the same play† (60). And later in the novel, he asks a series of rhetorical questions—â€Å"Don’t lies eventually lead to the truth? And don’t all my stories, true or false, tend toward the same conclusion?†Ã¢â‚¬â€before concluding that â€Å"authors of confessions write especially to avoid confessing, to tell no thing of what they know† (119-120). It would be wrong to assume that Clamence has given his listener nothing but lies and fabrications. Yet it is possible that he is freely mixing lies and truth to create a convincing â€Å"act†Ã¢â‚¬â€that he strategically using a persona to obscure particular facts and feelings. A Few Discussion Questions Do you think that Camus and Clamence have similar political, philosophical, and religious beliefs? Are there any major differences—and if so, why do you think Camus decided to create a character whose views are so at odds with his own?In some important passages in The Fall, Clamence introduces violent images and intentionally shocking opinions. Why do you think Clamence is dwelling on such disconcerting topics? How is his willingness to make his listener uneasy tied to his role as a â€Å"judge-penitent?†Exactly how reliable is Clamence, in your opinion? Does he ever seem to exaggerate, to obscure the truth, or to introduce obvious falsehoods? Find a few passages where Clamence seems especially elusive or unreliable, and keep in mind that Clamence may become significantly more (or significantly less) reliable from passage to passage.Re-imagine The Fall told from a different perspective. Would Camus’s novel be more effective as a first-person account by Clamence, without a listener? As a straightforward, third-person description of Clamence’s life? Or is The Fall supremely effective in its present form? Note on Citations: All page numbers refer to Justin OBriens translation of The Fall (Vintage International, 1991).

Sol Definition in Chemistry

Essay On New Physics - 732 Words

Research Statement Zhen Liu What is the (next accessible) scale of new physics? We do not have a clear answer. We are living through a challenging and exciting era, in sharp contrast to the situation of the past (half) century in physics. The discovery of the Higgs boson, the determination of the non-zero ÃŽ ¸13 neutrino mixing parameter, the first detection of gravitation waves, and many greatly improved experimental probes for new physics beyond the standard model mark the great triumphs of our understandings of nature. Profound puzzles of nature, such as hierarchy problem, dark matter, neutrino properties, matter-antimatter asymmetry, strong CP, flavor structure, etc., are actively being explored but yet remain to be solved. However, no†¦show more content†¦Currently, I have been working on the intriguing potential for new physics through novel on-shell interference effects between signals and background at different scales to probe BSM physics, and exotic long-lived particle signatures at the LHC. Given the long-term planning 1 Research Statement Zhen Liu September 2017 necessary for next-generation experiments and the exciting journey ahead of particle physics, I have been working on physics cases for various future collider scenarios, including the ILC, CEPC, FCC-ee and a muon collider. As an active junior member of the community, I also have been contributing to various community reports, including the 2013 Snowmass reports and recent Higgs Yellow report and currently involved in the writing of the long-lived particle white paper and various design reports for future colliders. I recently have been appointed a co-convener of the Higgs exotic decay subgroup of the LHC Higgs cross section working group (LHCHXSWG), bridging the theoretical and experimental community in searching for non-standard Higgs boson decays. My research interests and experience in BSM phenomenology cover a large span of topics. My research on Higgs physics ranges from Higgs precision at various colliders, exotic Higgs decays, Higgs EFT, probing first-order electroweak phase transition via the Higgs boson, to composite Higgs physics tests in the scheme of lowShow MoreRelatedNew Physics Essay775 Words   |  4 PagesWhat is the (next accessible) scale of new physics? We do not have a clear answer. We are living through a challenging and exciting era, in sharp contrast to the situation in the past (half) century in physics. 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