Wittgenstein's Children: Some Implications for Teaching and Otherness ABSTRACT: The later Wittgenstein uses children in his philosophical arguments against the traditional views of language. Describing how they learn language is one of his philosophical methods for setting philosophers free from their views and enabling them to see the world in a different way. The purpose of this paper is to explore what features of children he takes advantage of in his arguments, and to show how we can read
Otherness in Euripides'Bacchae and Soyinka's The Bacchae of Euripides Both Euripides and Wole Soyinka are focused on a fundamental ethical imperative in their plays: welcome the stranger into your midst. Acceptance of Dionysus as a god, as "an essence that will not exclude or be excluded", is stressed (Soyinka 1). Pentheus is punished severely for excluding, for refusing to acknowledge or submit to, Dionysus' divine authority. In order to carve out a place for himself (in the pantheon, in the
the loss of her own children does not, however, arouse sympathy. The lamiae later come to be more closely associated with vampires who return from the grave to suck the blood of the living. Since no community tolerates vampires, such a creature is otherness or difference personified. Other female mythic figures show affiliations with the lamia and its vampirism--the mortal femme fatale, the goddess who offers the hero a paradise of ease and immortality, and the female monster, sometimes visibly horrible
conflict between insider and outsider. The paradigm of otherness presented in this play is more complicated than the conclusion, "Othello is different; therefore, he is bad." Othello's character is to be revered. He is a champion among warriors; an advisor among councilmen; a Moor among Venetians. Yes, Othello is a Moor, but within the initial configuration of the play, this fact is almost irrelevant. His difference is not constructed as “otherness.” Othello, by his nature, is not an “otherized” character
necessarily divided between itself and itself as another, and due to that internal split, can grasp the alterity of another person. The paper notes that The Transcendence of the Ego is Sartre's first philosophical work and investigates the problem of otherness, alterity, or transcendence. Sartre develops the notion of transcendence in opposition to immanence, aiming to arrive at the notion of immanence purified of any transcendent elements and to use that notion as a clue for his definition of subjectivity
monstrosity concoct a fantastic world of ‘society’ to keep themselves at bay. Michael Uebel’s “Unthinking the Monster” and Mark Dorrian’s “On the Monstrous and Grotesque” represent similar though distinct theorizations of monstrosity in terms of otherness, difference, relation to self, and production in/by rhetoric. The articles consider the relation between monstrosity and the terms against which it is defined. Yet the pieces are also monsters, and the worlds they sing of are the ones they behold
The concept of “otherness” is a common idea throughout the world that describes how majority and minority identities are created. It is the “quality of being different or unusual” (“Otherness”). “Others”, during the early abolitionist period, were those that did not meet the European norm: white, male, and Christian. Members of the “others” were most often marginalized people, mainly those of a different race and gender. This concept of “otherness” and “others” prevented people of a different race
the narrator's horse which, like any practical being, wants to get on down the road to food and shelter. The narrator himself, however, continues to be lured by the mysteries of the forest just as the Romantic poets were lured by the mysteries of otherness, sleep and death. And, as before, the contrast is a product of tone and texture as much as dramatic intimation: the poem communicates its debate in how it says things as much as in what it says. So, the harsh gutturals and abrupt movement of lines
create an “otherness” to the people that believe differently than they do. This often leads to demonizing groups and creates an undue hate for people that just don’t understand. Each religious denomination/sect believes they are the truth when it comes to understanding religiosity and faith. Man is inherently prone to “other-hatred.” But not always, not everywhere, not against everyone who is different. Some filter must be brought forth which isolates and clearly identifies the “otherness” which will
shift in her parallels from the characters in Othello to the characters of Orlando. These shifts accent the changes she is making within her characters and plot line and also force the reader to break with the long standing views of gender and "otherness" established in Shakespeare's work. During the first half of Orlando: A Biography, Woolf clearly draws off of the play Othello. At times this is clearer than others. In both Orlando and Othello, there is little reference to Othello by name.
reader) as other. Pip's first encounter marks him thus, firstly as a convict and then through the cannibal references when he threatens to eat Pip's 'fat cheeks' (3 GE) and threatens to have another convict eat his heart and liver. Due to Magwitch's otherness and subsequent inability to function in normative society, he, along with his heart eating fellow cannibal, is being transported, displaced and removed from the centre. the shipment of convicts to Australia was familiar to Dickens and, though never
role Othello is trying to adopt in Venetian society. Desdemona has also perceived who she thinks Othello is through his discourse - I saw Othello's visage in his mind (I.iii.253)--which has perhaps caused her to only half perceive his colour and otherness, and the potential male opposition to thier marriage. What she has heard is his version of events, and she appears to have fallen in love with his exotic past through this discourse. We can wonder how well she knows Othello the man in the context
European Colonialism and Imperialism in Shakespeare's The Tempest William Shakespeare’s play The Tempest reveals how ideologies of racial ‘otherness’ served to legitimize European patriarchal hegemony in Elizabethan England. In the Elizabethan/ Jacobean times of England there were many relevant ideologies relevant to this play. In examining the values and ideologies this text endorses and challenges, the society of the time (Elizabethan England), and a knowledge of how it operated serves a great
When European colonial authors introduced us to the native, they created the native; the native character became more real to European readers than the actual inhabitants of the new world. The natives' overwhelming otherness eclipsed any individuality that might have been found among them. The native was childish, incapable of reason, and savagely unchristian, or as Lord Cromer described him, a being which "generally acts, speaks and thinks in a manner that is exactly opposite to the European" (qtd
and proves the me'connaissance of male selfism and female-otherness to establish a new doctrine based on the fact that the male subjectivity as a desceptionary ruling self is subverted through the intermittent alterity that the indispensable feminine Being-Anna Allmazifull-makes possible. Anna Livia Plurabelle (ALP) represents a kind of discourse (gramma's grammer) that grammatologically brings forth a new status in which feminine otherness is altered into an origin that governs all patriarchal claims
independence is one thing, but if you are not doing what the "in-crowd" is doing then face it, you are an outcast. No one should feel this way, but it is a fact that some do. Since when did not being normal become terrible? In Borders as Barriers: Otherness and Difference by Randall Bass, they present "national geographic nudity". When I read this article, I thought that they were trying to say that it is okay for the natives to be nude because that is what they were accustomed to. On the other hand
disobey God eventually. From the moment of her conception, Eve is already distant from God because she awakens in the shade and not in God’s light. Throughout Paradise Lost, Eve is identified with reflections, shadows, and dreams. Representing the “otherness” of Eden, Eve is an outcast and she seeks to find meaning in her life. At the moment of her awakening, Eve is engrossed by her reflection in the water, which she thinks is another being. This watery, wavering image of Eve extends throughout Milton’s
Magical Realism and the Sublime in The Monkey "The Monkey" is a short story written by Isak Dinesen. The story was published in 1934. "The Monkey" is a form of gothic sublime. In this story, I encountered many elements that related to magical realism as well as the sublime. "The Monkey" has many magical elements. The beginning of the story mentioned a purple-eyed young fallow deer (109). The element appears to me as being a magical element rather than an element of the sublime. Another
due to a disintegration of oneness, can be used to look at injustice as it manifests itself in the male conflict within the play. According to Lacan, a male child experiences conflict with his father, who is associated with language and thus otherness. Once a child enters into the world of language he loses his sense of unity with his mother. In Tartuffe the father, Orgon is in conflict with his son, Damis. Damis is a rash person who does not think things completely through before choosing a course
as being the adversary, the Other. Her otherness is twofold. She is an Oriental, and she is a woman…" (Hughes-Hallett 4). If Cleopatra represents the 'Other', then Octavia exemplifies Rome itself. She embodies all of the characteristics of a proper Roman wife: beauty, grace, wisdom, and above all obedience to her husband. Octavia is Antony's celebrated wife throughout the literature although their relationship is dispassionate, while Cleopatra's "otherness" prevents her from attaining the respectable