Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
rene descartes rationalism
descartes rationalism essay
descartes rationalism essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: rene descartes rationalism
Comparing Spinoza’s Ethics and Dostoyevsky’s Notes from the Underground
Perhaps my choice of the subject may come across as a little eccentric, to say the least. To appear quaint and whimsical, however, is not my intention, so I figured as an introduction, I would explain my choice. From so far as I can tell, philosophy, or the search for truth, has all too often been equated with certainty. This quality of certainty has been especially magnified in the rationalist branch of philosophy. Starting with Descartes’ vision of a philosophy with a mathematical certainty, rationalists claimed to have grasped a rather large portion of reality, including the world, God, consciousness, and whatever falls in-between. As empiricists argued, most of this "knowledge" was in effect assumed, a habit, as it had no representation in the real world. The rationalists’ notorious abstractness and their disregard for the seeming discrepancy between their proofs and the real world have been the main reasons for the fearsome opposition and caricature they faced: even Voltaire, though influenced to a great extent by Leibniz’s philosophy, ridicules it in his masterpiece Candide in the form of ludicrously optimistic Pangloss. . Kant, especially, has put a rather impressive dent in the hull of rationalist philosophy, branding it dogmatic metaphysics. As he pointed out, rationalist philosophy ignores the sensory component of human perception when embarking on its ill-fated quest to find a metaphysics with absolute knowledge. I find this criticism the most powerful, as it points out the discrepancy between the real world and the abstract world of rationalists.
Spinoza’s system stands on the cutting edge of rationalist thought, attempting to establish the certain, necessary and universal truths of reality and nature by reducing Descartes’ philosophy to a set of axioms and definitions, like one would do with a geometry proof. Dostoyevsky stands on the opposite side of the spectrum, exposing the shortcomings of reason with frightful realism. He, in my opinion, makes incredibly insightful points about this discrepancy between how things "should" be and how they are.
When comparing the manifestos of these two thinkers, Spinoza’s Ethics and Dostoyevsky’s Notes from the Underground, one can easily see the difference in language. Spinoza’s language is strictly mathematical. He is not concerned with engaging the reader. His primary concern is with presenting his idea with clarity and consistency. Dostoyevsky’s language differs due to the difference of his intention.
truck with many logs, and driven that truck over my thighs” (Thompson 81).Manuel goes on to
...story telling traditions. All storytellers are children of the ones, which came before them and stand on the shoulders of those who have told the tales in the past. Marquez and Anaya did not hesitate to make liberal use of magical realism, both as a way to create tension in their stories and to contact the deeper hearing of their audience. Magical realism was just another tool in their literary boxes, to be used with skill and discretion for the greater benefit of the tale being told. It worked well for the cantadora, sitting in the doorway weaving her basket as she wove her tale and it works equally well today as we pause from our lives, quiet our souls, and prepare to listen as the story unfolds.
Magical realism is a genre in which extraordinary events are incorporated into the ordinary world, usually referred to as realistic fiction. In Latin American culture many authors use this type of literature to describe phenomenal events that occur within our ordinary world. Magical realism can be analyzed through different novels, short stories and movies, for example, Bless me, Ultima, by Rudolfo Anaya, “The Night Face Up,” by Julio Cortazar, “A Very Old Man with Enormous Wings,” by Gabriel Garcia Marquez and the movie Big Fish by Tim Burton. Magical realism is a style of writing used to link the abnormal with the ordinary.
The problem of reconciling an omnipotent, perfectly just, perfectly benevolent god with a world full of evil and suffering has plagued believers since the beginning of religious thought. Atheists often site this paradox in order to demonstrate that such a god cannot exist and, therefore, that theism is an invalid position. Theodicy is a branch of philosophy that seeks to defend religion by reconciling the supposed existence of an omnipotent, perfectly just God with the presence of evil and suffering in the world. In fact, the word “theodicy” consists of the Greek words “theos,” or God, and “dike,” or justice (Knox 1981, 1). Thus, theodicy seeks to find a sense of divine justice in a world filled with suffering.
During the mid- to late- 1800s in Russia, a radical phenomenon swept the nation. The idea that life was meaningless and that there was no "mind" or "soul" outside the physical world infected the minds of Russia's elite and Russia's poverty-stricken. This became known as Nihilism. According to Whitney Eggers on "Philosophies in Crime and Punishment," "Nihilists argued that there was a distinction between the weak and the strong, and that in fact the strong had a right to trample over the weak" (Eggers). Nihilism is commonly linked to utilitarianism, or the idea that moral decisions should be based on the rule of the greatest happiness for the largest number of people. Raskolnikov, the protagonist in Crime and Punishment, is a Nihilist, which is his main reason for committing the murders. As a Nihilist, Raskolnikov is a man who "approaches everything from a critical point of view...who does not bow down before any authorities, who does not accept a single principle on faith, no matter how much respect might surround that principle" (Cassedy, 1639).
Marquez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism. His short story contains magic that exists in a realistic background. One can easily see why Marquez is such a forerunner in the field of Magical Realism.
Mrs. Dubose asks that Jem reads to her every day for a month. I think this is a fair punishment because he ruined some of her joy- he should do something to make up for it.
In order to see how Magical Realism is found in this treatment, one must first consider at least one of the identifying marks of Magical Realism. Among the characteristics that identify Magical Realism is the feeling of transcendence that the reader has while reading a Magical Realist text (Simpkins 150). During transcendence, a reader senses something that is beyond the real world. At the same time, however, the reader still feels as if he or she were rooted in the world (Sandner 52). After the reader undergoes transcendence, then he or she should have a different outlook on life.
Roh, Franz. "Magic Realism: Post-Expressionism." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 15-30.
The novels I will be comparing are Laura Esquivel's Like Water For Chocolate, Isabel Allende's The House of Spirits, Simone Schwarz-Bart's The Bridge of Beyond, and Toni Morrison's Song of Solomon. All of these novels use magical realism, which adds to the reader's enjoyment while desc...
While confronting Dostoevsky’s Notes from Underground seems a difficult task initially, one must be able to transcend the elaborate diction and parodies, and comprehend the author himself, while also taking root the message Dostoevsky had originally intended in the time it was addressed. Understanding the author himself, along with the period in which the work was written, augments one’s overall discernment of the passage. In the age he wrote, Dostoevsky must have seemed eccentric and outlandish; nevertheless, looking back on him from today with a literary understanding of modernism, he appears ahead of his time. His central premise, although difficult to determine amongst the satire, is humanity’s necessity for freedom and religion, specifically Christianity.
Magical Realism is the way in which a person views the world through a type of art. Magical realism deals with emotions, and it also discovers what is mysterious and meaningful in life. According to Franz Roh, in painting, is the way a person views the world through art (18, 20). Magical Realism has many characteristics that include many other ideas. Magical Realism can be observed in other subject areas, too, such as the logotherapy of Victor Frankl.
Throughout the book, “Crime and Punishment,” by Fyodor Dostoevsky, we see key words that play major roles in the plot and development of the story. Five words, in particular, act as front-runners in symbolic themes; they are crime, punishment, poverty, suffering, and child. There is no doubt that these words play a major factor in the novel because not only do we see these words often, but also we experience the words as they are lived through by many of the major characters. What some readers might not realize is that Dostoevsky does not let only one of the words dominate a scene in the book; they are intermingled concepts. Where there is one of the five major words of the novel, Dostoevsky usually accompanies it with another. All five of the words are dependent of each other and without one of them, the novel would not demonstrate the story and powerful themes that Dostoevsky was looking to present.
Obviously the most concise definition of magical realism is that it is the combination of magical and real elements. The magical elements that exist in works of magical realism are; superstitions, exaggerations, dreams that come true, universal humor and the coincidence of bizarre events. All of these Elements are present within Chronicle of a Death Foretold.
Dostoevsky’s noteworthy literary works each contain similarities in theme, character development, and purpose when analyzed beyond face value. Dostoevsky’s early life and ideals, intertwined with life-changing events that shifted his ideologies, and critiques of fellow Russian writers during his time period lay the groundwork for Dostoevsky’s recurring arguments for the way which Russian society would be best-off, as well as ways in which the people of Russia would be suited to live the most fulfilling, non-corrupt lives.