Wednesday, January 29, 2020
Thought Experiment Essay Example for Free
Thought Experiment Essay The fear of death is natural for all human beings regardless of race or culture and perhaps the only thing that separates the fear among different cultures are the vast array of concepts and views pertaining to it. After the concept of a higher being, death is perhaps the second most philosophically debated topic and rightly so, because as the text supplied to us said â€Å"we can and must postulate, as reasonably as possible, what our end has in store for us. †           Historically speaking, the fear of death itself has been a hotly debated topic and has even been used for ulterior motives such as the case of the Catholic Church and their concept of plenary indulgence. In more recent times the fear of death has even been used as an incentive, fundamentalist Muslims have turned the fear into something that should be welcomed and coupled with the promise of seventy-seven virgins in the afterlife, has itself been used to persuade impressionable people into wearing vest bombs.            Fear is indeed a great motivator and yes, few things can compete with the fear of death but I beg to differ about it and I’ll even go so far as to say that not only should you not fear death but you should in all sense of the word, welcome that fear and turn it into something positive.            Following the arguments from the texts given to us, the first thing we should consider is the question of whether it is rational to fear death. Of course, death being unable to exist at the same time and place as you can therefore not harm you and should not be feared. The fear of death is irrational in all respects according to this argument and rightly so. Unfortunately, there are such things as irrational fears and I suspect that the fear of death has enough magnitude to trump rationality –at least most of the time.            It is a given fact that we do indeed fear death regardless of whether it is rational or irrational to do so. In that regard, what other choices are there? Death being a fact of life means that we can do nothing else about it but to simply accept it. We can of course at this point minimize the fear of death by proving that it is not death itself that should be feared but rather a life unlived.            The â€Å"badness†of death can actually depend on what would have happened to a person if that person’s death had not taken place. Suppose then that some very old and unhappy person dies and considering that further life would inevitably only lead to more pain for this person, then dying is not so bad for him (Feldman 140). Some may even see death for this person as a blessing and arguably, this is where one should start looking as death as more than something to fear but as something that could be a motivation.            Death should not be feared, it should be seen as a reminder that a person may have a greater purpose in his life and should do all he can to strive for it. It is a reminder that regardless of whether there is an afterlife or not, this life matters and one does not have a lot of time to MAKE it matter. Yes, the fear of death is irrational, but more than that, is it not more irrational to make nothing of death and simply accept it?            At this point it seems that I arrived at a different conclusion than the author of the given text. It just seems to me that the author is so focused on death as an end rather than as an opportunity. Yes, death is an end but is it not also an opportunity to be reminded that there are things you could achieve and people you can touch before that end ultimately comes?            At the end of the day, I do concede that we have no doubt proven the irrationality of death but I also argue that not only have we proven that but we may have also given a solution regarding it. By considering the rationality of death, I’m was hard pressed not to consider the rationality of life itself and now I’ll have to conclude that the only solution to the fear of death is simply acceptance and doing what you can to make sure that when the proverbial clock ends, you will be able to look the reaper in the eye and say that you have no regrets. Works Cited Feldman, Fred. Confrontations with the Reaper. New York: Oxford University Press, 1994.
Monday, January 20, 2020
Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufr
Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufrock In Episode 8 of Ulysses, Joyce sends Bloom and the reader through a gauntlet of food that enlarges one of the novel ¹s main linguistic strategies, that of gradual digestion. While Episode 10 may seem like a more appropriate choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliot ¹s poem "The Love Song of J. Alfred Prufrock," the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-hero ¹s own inability digest thoroughly any complete thought all the way through. Bloom describes the process of eating with realism appropriate to the task: "And we stuffing food in one hole and out behind: food, chyle, blood, dung, earth good: have to feed it like stoking an engine" (144-5). Indeed, this is the path words take in the novel; they begin in a pure form, as written on a page (such as Martha ¹s "Are you not happy in your home you poor little naughty boy?" which, despite its impure implications, is at least black ink on white paper) and filters into every stage of Bloom ¹s journey (as in Episode 8, 137). The gradual digestion of words fits with another of Martha ¹s lines, the typographical error "I called you naughty darling because I do not like that other world" (131). These words become "worlds," carving out a space as they travel throughout Dublin with Bloom. Bloom tosses the "throwaway" into the Liffey, and its words sail down not only the river, but alongside Bloom, causing him trouble and marking him as a throwaway himself. Words often hi nt at their own creation or foreshadow another... ...urface giddiness of "mermaids singing, each to each." Our paralysis in reading "Prufrock," from stanzaic symmetries ("And would it have been worth it, after all"/"That is not is, at all," used twice with minor variations) that indicate Prufrock ¹s stalled action to the anatomization of pluralized body parts ("eyes"/"arms") that rest heavily on a local item while emphasizing its multitude and power, "Disturb[s] the universe" as much as Prufrock ¹s own perambulations do, that is, not at all. He only sinks further down, drowning not only in other "human voices" but, more importantly, in his own constipation. Works Cited Eliot, T. S.. "The Love Song of Alfred J. Prufrock." Making Literature Matter: An Anthology for Readers and Writers. 2nd Ed. Schlib & Clifford. Boston: Bedford, 2003. 851-855. Joyce, James. The Portable James Joyce, New York: Penguin Books, 1996 Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufr Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufrock In Episode 8 of Ulysses, Joyce sends Bloom and the reader through a gauntlet of food that enlarges one of the novel ¹s main linguistic strategies, that of gradual digestion. While Episode 10 may seem like a more appropriate choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliot ¹s poem "The Love Song of J. Alfred Prufrock," the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-hero ¹s own inability digest thoroughly any complete thought all the way through. Bloom describes the process of eating with realism appropriate to the task: "And we stuffing food in one hole and out behind: food, chyle, blood, dung, earth good: have to feed it like stoking an engine" (144-5). Indeed, this is the path words take in the novel; they begin in a pure form, as written on a page (such as Martha ¹s "Are you not happy in your home you poor little naughty boy?" which, despite its impure implications, is at least black ink on white paper) and filters into every stage of Bloom ¹s journey (as in Episode 8, 137). The gradual digestion of words fits with another of Martha ¹s lines, the typographical error "I called you naughty darling because I do not like that other world" (131). These words become "worlds," carving out a space as they travel throughout Dublin with Bloom. Bloom tosses the "throwaway" into the Liffey, and its words sail down not only the river, but alongside Bloom, causing him trouble and marking him as a throwaway himself. Words often hi nt at their own creation or foreshadow another... ...urface giddiness of "mermaids singing, each to each." Our paralysis in reading "Prufrock," from stanzaic symmetries ("And would it have been worth it, after all"/"That is not is, at all," used twice with minor variations) that indicate Prufrock ¹s stalled action to the anatomization of pluralized body parts ("eyes"/"arms") that rest heavily on a local item while emphasizing its multitude and power, "Disturb[s] the universe" as much as Prufrock ¹s own perambulations do, that is, not at all. He only sinks further down, drowning not only in other "human voices" but, more importantly, in his own constipation. Works Cited Eliot, T. S.. "The Love Song of Alfred J. Prufrock." Making Literature Matter: An Anthology for Readers and Writers. 2nd Ed. Schlib & Clifford. Boston: Bedford, 2003. 851-855. Joyce, James. The Portable James Joyce, New York: Penguin Books, 1996
Sunday, January 12, 2020
Dead Poets Society †Responsibility Essay
Exposition – Dead Poet’s Society Neil’s suicide was more his father’s fault than that of Keating. Do you agree or disagree? The movie ‘Dead Poet’s Society’ produced in 1989 by Peter Weir unfolds many perception of life during the 1950’s. The Welton Academy, the place where the movie was filmed, sets a great example as it articulates the regimented life of numerous male students who suffer from pressure, lack of freedom, and high expectations of their parents and teachers. Many of these adolescent boys are considered rebellious instead of subsequent, for taking risks. However, the roles of these students are fundamental as they show the existing individualism throughout the movie. The students also show existing individualism through the encounters that they had with one another, with their parents and with the school staff. However, if individualism is taken to its extent, things can either go right or for instance, Neil’s suicide; it can also go horribly wrong. But moving on to the topic, Yes, Neil’s death was a tragedy, many people believe only himself was held responsible. But if you look at the greater depth of the movie, there are other reasons why Neil chose to end his life. And if there is anything to blame for Neil’s death, there are strong possibilities that Neil’s father and Mr Keating are highly responsible. Who do you think is responsible for Neil’s death? Mr Perry, Neil’s dad, a traditional, persuasive, strict father who requires high expectation of his son or Mr Keating, Neil’s charismatic and inspirational teacher, the one who opened the students mind? Mr Perry can be blamed constantly of Neilâ⠂¬â„¢s suicide if Neil’s death was based on, basically, the lack of freedom Neil had during the time when he was still living. Mr Perry is a very traditional father who has high expectations of his son and just like any typical father in the film, he is forceful and aggressive towards his son’s educational life. He is extremely domineering and believes that deciding for his son was the best idea. It was a tough challenge for Neil to get along with his father as he couldn’t overcome the difficult relationship he had with his father. One example would be when Neil decided to change his father’s will of him doing a career in medicine and alternatively, he chose to follow his dreams and do a career in performing arts. However, Mr Perry showed atrocious response in what Neil has done. Neil’s performance was rather aggravating than delighting to him. Mr Perry insisted to do nothing but decide for his son. Neil, thinking he’s had enough, stood for himself and tried to communicate with his father to tell him his own perspective. However, the traumatized boy who’s stuck in agony was unable to do so. Neil believed that there was no way out of this horrendous imprisoned-life so his overall choice was to end everything by pull of a trigger. It was the only way for Neil to show independence to his father, the only way to show that he’s seizing the day. Mr Perry, who was unable to understand the state of event, was horrified†¦but if he listened and communicated properly with Neil†¦Neil would still probably, be breathing. Though there was no precise reason of Mr Keating getting involved with Neil’s suicide, Mr Keating was also, somehow, blamed for Neil’s death. Many audience of the film believe that Mr Keating did not present his philosophy of life clearly therefore causing the boys to interpret it incorrectly. This might’ve been during the time he opened his student’s mind and filled them with hopes and dreams, or the time when he told them to look at things in a different way, or the time when he told them to enjoy life to the fullest (ak a Carpe Diem; Seize the day). Though, he encouraged his pupils to stand up for themselves, to be independent, he also pushed them away from conforming to the school’s policy. One boundless example of Mr Keating’s inspiration, through the way he teaches the boys, was when he told them to rip out the introduction page of the poetry books. As he wanted them to gain the ability to have their own response, to build their own belief of what poetry is all about. And throughout the movie, Mr Keating would constantly tell his students to ‘Seize the day!’ though, he meant to live life to the fullest, he did not theoretically mean to suicide. Unknowingly, Mr Keating taught his students, the opposite message he was trying to get to them. Overall, the majority of reasons for Neil’s suicide was caused by Mr Perry, though Mr Keating can also be blamed as he lacked of explanation in his inspirational words to the boys, if he had explained his theory properly to his students, then they would†™ve fully understood including the consequences it would bring. However, it is Mr Perry that has caused extreme destruction in Neil’s identity. Even from the start, Neil and his dad never had a proper father-and-son relationship. Mr Perry never gave Neil a chance to do something he wanted to do, instead he was eager of controlling his son’s life. He treated Neil like as if his son was imprisoned, no freedom, no choice and he was full of restrictions against his son.
Saturday, January 4, 2020
Critique of Sap System - 983 Words
Critique of SAP system Introduction: SAP ERP is an integrated enterprise resource planning (ERP) software manufactured by SAP AG that targets business software requirements of midsize and large organizations in all industries and sectors. More than 2,300 customers are using the latest version of mySAP ERP. It is a real-time process system which all the users log on the central platform server. There are many sub-functions of SAP including SAP ERP Financials, SAP ERP Human Capital, Management SAP ERP Operations, and SAP ERP Corporate Services. We only focus on the revenue cycle and expenditure cycle of the SAP system which is direct related to the accounting information system. Expenditure cycle: About master records: The expenditure†¦show more content†¦Special procedures usually apply for requisition plant and equipment or for entering into lease contracts. About purchase order: In SAP, purchase orders can be created with or without reference to a purchase requisition or a RFQ. That increase the risk of purchases made for unauthorized purposes. We can reset the system that except for programmed inventory replenishment, the purchase department issue purchase orders only on the receipt of requisitions properly approved by an employee who has appropriate requisitioning authority. We can also improve the efficiency of the system by centralization of purchasing in a specialized department. The purchase department is better able to negotiate more favorable terms and prices and, by amalgamating orders, can obtain better volume discounts. About receiving: In receiving goods, SAP can suggest data from the purchase order when the goods receipt is entered in the system. That’s the same effect as the blind copy of PO, it is more efficient because the system can tell the receiving department the right amount immediately. But compare with manual process, the SAP system often eliminates the segregation of duties. 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