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Pain And Pleasure Essay Examples | Kibin
, a painting by Pieter Bruegel the Elder, impresses the viewer first with the softness of sunshine and the bucolic pleasures of the countryside. The everyday pursuits of the three common men pictured the plowman, the shepherd, and the fisherman are being carried out in earnest, but with apparent ease and even pleasure. The shepherd lifts his face to the sky, seemingly unconcerned that his sheep are grazing perilously close to the seacliff's edge; the other two are a bit more intent on their work. The details of the foreground the way the plowman's feet tread upon the neatly folded soil behind the plow blend toward the vague but powerful treatment of the background's mysteries: the nearly obscured and whitened mountains, the majestic (if somewhat cloudy) city along the far shore, and the ruined castle in the sea with its cave-like entry.
Our first version of this first essay's beginning is casual, to say the least. Some of the language, the choice of words, would be typical of friends standing in front of a painting at the museum, remarking in an off-handed way some of its more obvious characteristics. Words and phrases such as "guy," "pretty much," "horse's rear end," "weird thing," "give a darn," "pretty," and, of course, "Whoa, Nelly!" would be inappropriate in formal academic discourse. It's not so much that those words are , exactly, just that they are neither precise nor helpful in our understanding of how the painting registers its effects on the viewer. In addition, the analysis of the painting is done entirely from the viewpoint of the first-person singular, "I." Again, that's not exactly wrong, but the reader is impressed by the fact that these impressions could be entirely those of the eccentric individual writing, not that these are impressions that ought to be shared by others.
Utilitarianism and Pleasure Essay
The argument from the biological role of pain and pleasure is an evidential argument from evil that focuses on a specific type of "natural evil": the biological role of pain and pleasure. Inspired by Hume and formulated by philosopher of religion Paul Draper, the argument uses Bayesian confirmation theory to argue for the hypothesis of indifference (i.e., metaphysical naturalism), a hypothesis that entails atheism. Draper's argument focuses on observations of humans and animals experiencing pain and pleasure. More specifically, Draper is interested in the following three observations:
All of this occurs to the viewer before the central event of the painting (as announced in the painting's title) reveals itself to his attention: the splash of a pair of legs as the fallen Icarus plunges into the sea. In the lower right-hand corner of the painting, the painfully splayed legs, their delicate pinkness, are all that we see of the fallen mythological figure. They are caught at that precise instant that this symbol of human pride or hubris is about to disappear forever from the world's attention (ironically, of course, in a world where no one is paying attention). We are the only ones who will ever know. All of the energies of the painting lead away from this disturbing and important event: the plowman and shepherd, oblivious, go about their business, as does the fully-rigged boat (also moving toward the left), sailing away from the fallen figure. . . .
The Biological Role of Pain and Pleasure - Atheism
In a popular article about general arguments from evil against the existence of an all-powerful, all-knowing, and perfectly good God, William Lane Craig raises objections to such arguments that are consistent with those he earlier raised against Paul Draper's evidential pain-and-pleasure argument from evil in an oral debate with Draper in 1998. In this article Jeffrey Jay Lowder considers whether Craig's points have any force in rebutting Draper's writings on his pain-and-pleasure argument, ultimately concluding that they leave Draper's argument unscathed.
Draper's argument is that these observations are much more probable on the assumption that the hypothesis of indifference is true than on the assumption that theism is true. And therefore, observations of humans and animals experiencing pain and pleasure provide strong evidence for the hypothesis of indifference and against theism.
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Pain, Pleasure, and Æsthetics - Forgotten Books
The pressure to write is determined by the relationship between you as writer and the audience you're trying to reach and affect. Let's examine two essay beginnings with an eye toward determining the writer's purpose and how that sense of purpose establishes tone and word choice. Let's say that for a course in Art Appreciation we (there's a bit of pressure right there!) a brief analysis of a famous painting by Pieter Bruegel the Elder, (c. 1558; Oil on canvas, mounted on wood, 73.5 x 112 cm; Musees royaux des Beaux-Arts de Belgique, Brussels). [Clicking on the image below will call up a larger version of the same painting 179 kb, not recommended with slow connections.] As you read the beginnings, think about the relationship between writer and audience and how this might have influenced how the writer wrote as he or she did.
How to Use the Pain and Pleasure Principle to Achieve …
Sole (2013), descriptive writing is “defined by painting pictures with words” (chapter 6.4, line 1), while narrative writing is described as “storytelling from the point of view of the narrator” (chapter 6.3, line 1).
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