Observational learning

"Hurting Love": Reckoning Poetry's Costs In Gwendolyn Brooks' "First Fight. Then Fiddle." Gwendolyn Brooks' "First fight. Then Fiddle." initially seems to argue for observational learning the necessity of brutal war in order to create a space for the pursuit of beautiful art. The poem is more complex, however, because it also implies both that war cannot protect art and champs that art should not justify war. Learning? Yet if Brooks seems, paradoxically, to argue against art within a work of art, she does so in order create an artwork that by its very recognition of pygmalion conclusion art's costs would justify itself. Brooks initially seems to argue for observational learning the necessity of war in order to create a safe space for artistic creation. She suggests this idea quite forcefully in the paired short sentences that open the poem: "First fight. Then fiddle." One must fight before fiddling for contract law case studies two reasons. First, playing the violin would be a foolish distraction if an enemy were threatening one's safety; it would be, as the phrase goes, "fiddling while Rome burns." Second, fighting the war first would prepare a safe and learning prosperous place where one could reasonably pursue the pleasures of music. One has to "civilize a space / Wherein to play your violin with grace." It should be noted further that while Brooks writes about check if my plagiarized free, securing a "civilized" place to play the observational learning violin, she seems clearly to be using this playing as an check if my essay plagiarized free image for art in general, as her more expansive references to "beauty" or "harmony" suggest. Nonetheless, much that Brooks writes about the learning necessity to fight before fiddling indicates the she does not support this idea, at check essay free, least not fully. Observational? For example, Brooks describes making beautiful music as being "remote / A while" from "malice and murdering." In addition to the negative way Brooks describes war in this line, as murder motivated by malice, the of the internet papers phrase "a while" significantly qualifies the initial command to "First fight. Observational? Then fiddle." While this initial command seems to promise that one will only construction contract law case studies have to fight once in order to create a safe space for art, the phrase "a while" implies rather that this space is observational learning not really safe, because it will only last for a short time. On Superstitions By Agg Gardner Essays? War will begin again after "a while" because wars create enemies and fail to solve underlying conflicts. The beauty of learning violin playing remains illusory if it makes us forget that the problem of war has not really gone away. Brooks suggests moreover not only that war cannot really protect art but also that art is not really a just excuse for war. Indeed, she implies that art might be responsible for war's unjust brutality toward others. This idea is most evident in the poem's final sentence: "Rise bloody, maybe not too late / For having first to civilize a space / Wherein to construction contract play your violin with grace." Though on observational learning, first read it seems like this sentence repeats the warning to fight before it is pygmalion "too late," its language has a number of negative connotations that undercut this exhortation. "Civilize" might at first seem a laudable goal, but it is learning also hard not to hear in university creative certificate, this word all the atrocities that have been committed because one group believed another group needed "civilizing" or lacked civility. Moreover, if war inherently makes even "civilized" people uncivil because of observational its brutality, war's final achievement in the poem--"a space / Wherein to play your violin with grace"--seems heavily ironic. "Grace" can suggest a valuable beauty or refinement, but also more superficial manners. And this possibility of merely superficial refinement, blind to the violence and even injustice committed in its name, is especially suggested by the image of having to "rise bloody." The artist playing his violin so gracefully also has blood on his hands. The first hypothesis of the poem, that one can fight and essay conclusion then fiddle--that is, that once can fight and put the war out of one's mind by playing beautiful music--has been replaced by a recognition that one cannot deny the violence that made beauty possible. For at a minimum war continually threatens this beauty. Even worse, this war has perhaps been unjustly waged with the protection or promotion of "civilized" beauty as its excuse. This conclusion is observational learning striking since violin playing in the poem seems not only to provide a metaphor for essays artistic creation generally, but also writing poetry in particular. For by its heavy use of alliteration, assonance and consonance, the poem emphasizes its own musicality, as if it were like a violin being played. In just the poem's initial line "first" "fight" "fiddle" alliterate, as well as ring changes on the different sounds of the vowel "i"; "fight" and "ply" assent; and observational "slipping string" repeats the initial "s" and final "ing" sounds. Moreover, the sonnet itself is de lessay a very refined artistic form, easily associated with the difficulty and learning cultural prestige of university creative writing violin playing. Indeed, as an emblem of observational learning Western civility (one thinks of Renaissance sonnets), the sonnet might be involved in the very justification of the destruction of other less "civilized" peoples that the poem condemns. One might wonder why Brooks produces poetry, especially the sonnet, if she also condemns it. Essay Conclusion? I would suggest that by critically reckoning the costs of learning sonnet-making Brooks brings to her poetry a self-awareness that might justify it after all. She creates a poetry that, like the violin playing she invokes, sounds with "hurting love." This "hurting love" reminds us of essay conclusion those who may have been hurt in the name of the love for poetry. But in giving recognition to that hurt, it also fulfills a promise of poetry: to be more than a superficial social "grace," to teach us something we first did not, or did not wish to, see.

Oration on the Dignity of Man Summary. Giovanni Pico della Mirandola’s Oration on the Dignity of observational, Man is a remarkable document, but not for the reason that is sometimes thought. Even though it is an important statement by an influential early Renaissance humanist, the Oration on the Dignity of check, Man is neither a proclamation of the worth and glory of worldly life and achievement nor an attack on the medieval worldview as such. Pico was a man of his time, and he was willing to defend the medieval theologians and philosophers from the attacks of his humanist friends. However, in his statement he does go beyond what was then the traditional view of human nature. Pico was a scholar whose erudition included a familiarity not only with Italian, Latin, and Greek but also with Hebrew, Chaldean, and observational, Arabic. He had read widely in several non-Christian traditions of philosophy, and he had concluded that all philosophy, whether written by Christians, Jews, or pagans, was in basic agreement. In Rome, in December, 1486, Pico published nine hundred theses and construction contract law case studies, invited all interested scholars to dispute them with him the observational learning, following month. The Oration on the Dignity of Man was to have been the introduction to contract his defense. Pope Innocent VIII forbade the disputation, however, and appointed a papal commission to investigate the theses; the commission found some of observational, them heretical. Pico tried to defend himself in a published Apologia , but this made matters worse, and for pygmalion conclusion several years he remained in conflict with the Catholic Church. Pico had not expected this state of affairs and, being no conscious rebel, he was very much disturbed by it. As a result he became increasingly religious and finally joined the Dominican order. The Oration on the Dignity of Man was never published in Pico’s lifetime, though part of it was used in his Apologia to the papal commission. In form, the Oration on the Dignity of Man follows the then-standard academic, humanistic, rhetorical pattern. The piece is divided into two parts. The first part presents and learning, deals with the philosophical basis of the gardner essays, speaker; the learning, second part announces and justifies the topics to of the internet on plagiarism be disputed. The philosophical first part of the Oration on learning, the Dignity of Man begins by praising human beings; this, as Pico points out, is a common topic. However, he immediately rejects the traditional bases for praise, that is, the medieval view that the distinction of human beings is a function of their unique place at of the internet in student papers the center of creation, in other words, that each individual is a microcosm. Pico accepted the observational learning, premise that human beings are the most wonderful of all creations, but he inquired into the reasons why this should be so. Some, he said, believed that human beings are wonderful because they can reason and are close to God, yet the same qualities, he pointed out, may be found among the angels. Pico’s view. (The entire section is 1189 words.) Get Free Access to this Oration on the Dignity of construction contract law case studies, Man Study Guide. Start your 48-hour free trial to unlock this resource and learning, thousands more. Get Better Grades. Our 30,000+ summaries will help you comprehend your required reading to ace every test, quiz, and essay. We've broken down the chapters, themes, and characters so you can understand them on your first read-through. Access Everything From Anywhere. We have everything you need in one place, even if you're on the go. Download our handy iOS app for free. Cassirer, Ernst. “Giovanni Pico della Mirandola.” Journal of the university of toronto creative writing certificate, History of Ideas 3 (1942): 123-144. The second part of this article analyzes Pico’s philosophy as it is outlined specifically in the Oration on the Dignity of Man . Remains an important source on the work that is frequently cited in other studies. Copenhaver, Brian P. “The Secret of Pico’s Oration : Cabala and Renaissance Philosophy.” Midwest Studies in Philosophy 26, no. 1 (2002): 56-81. Discusses why Pico wrote Oration on observational learning, the Dignity of creative certificate, Man. Argues that the work is not about human dignity and freedom in the sense that a modern reader understands these topics; maintains instead that most of the oration deals with magic and the Kabbala. Dougherty, M. V., ed. Pico della Mirandola: New Essays . New York: Cambridge University Press, 2008. Includes a detailed analysis of the genre and contents of the oration, focusing on Pico’s defense of humans as unique beings in the order of creation. Kristeller, Paul Oskar. “Introduction to learning Oration on the Dignity of Man .” In Renaissance Philosophy of Man , edited by Ernst Cassirer et al. Check Essay Free! Chicago: University of observational, Chicago Press, 1948. An excellent survey of the treatise, written by a preeminent scholar of Renaissance philosophy who places it within its historical and intellectual context. Trinkaus, Charles Edward. In Our Image and Likeness: Humanity and Divinity in Italian Humanist Thought . 2 vols. London: Constable, 1970. Chapter 10 of on superstitions, this important study focuses on Pico and the Oration on the Dignity of Man , relating them to other Renaissance humanists’ conceptions of the essence of human existence. Vasoli, Cesare. Learning! “The Renaissance Concept of Philosophy.” In The Cambridge History of Renaissance Philosophy , edited by Quentin Skinner and Eckhard Kessler. New York: Cambridge University Press, 1988. Places the Oration on the Dignity of Man in its philosophical context. Other articles in this volume provide information on university, the intellectual heritage upon which the Oration on the Dignity of Man drew. Access our Oration on the. Observational Learning! Study Guide for Free. Oration on studies, the Dignity of Man Homework Help Questions. Mirandola argued that mankind ought to be praised and observational learning, understood as a wonderful aspect of God's creation. The reason for this, he suggested, was that God had given man something that he granted to. Pico della Mirandola’s Oration on the Dignity of Man was intended to represent this learned Renaissance-era figure’s contribution to pygmalion the ongoing debate regarding humanism and observational learning, theology. Pico. Count Giovanni Pico della Mirandola, better known simply as Pico, is a reknowned renaissance philosopher. His Oration on pygmalion essay conclusion, the Dignity of Man is a famous work of the fifteenth century, dealing with. Pico's primary point on why human beings are miraculous is learning, due to the free will that God has embedded within individuals. For Pico, the truly miraculous element of human beings is that they.

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