Abstract This paper illustrates that Christianity believes firmly in the concept of the Creator. The author then compares this concept with the views of Sigmund Freud and William James. He states that both Freud and James held theories which are in conflict with Christian beliefs.
From the Paper "Sigmund Freud was one such man who totally dismissed religious beliefs because in his research on psychology, he did not find any evidence to support the existence of Creator. Therefore in his view Creator was nothing more than a manifestation of man's childhood neurosis. He felt that since as children, we all need to believe in the concept of loving caring soul, that is why we start believing in Creator but as we grow older, the roots of this idea weaken and some of us start doubting religious beliefs. "
Abstract A study of the master-slave dialogues and the relationship between Frankenstein and his creator Victor Frankenstein. Their discussions throughout the story reflect upon this relationship and thus signify their roles and attitudes towards each other. It examines how Mary Shelley has wittily shown the facets of the relationship between the master and the slave by personifying each in its own role, and then the others. The master who becomes his creation's slave and the creature who becomes his creator's master. It explores the conversations between the "master and the slave" and looks to determine which is which.
From the Paper "Mary Shelley's novel Frankenstein is categorically analyzed as occupying a defining moment in the evolution of thinking on the ethics of creation, and the phenomenon of monstrosity. It is essentially the story of Victor Frankenstein who goes to Ingolstadt to study science and ends up creating and bringing to life a monster. The monster is his creation and thus refers to Victor as his master and himself as his slave. Their dialects throughout the story reflect upon this relationship and thus signify their roles and attitudes towards each other. Shelley has wittily shown the facets of the relationship between the master and the slave by personifying each in its own role, and then the others. The master who becomes his creation's slave and the creature who becomes his creator's master. The following passage explores the conversations between the "master and the slave" and looks to determine which is which."
Abstract This paper discusses the relationship between the doctor and his creation in "Frankenstein," by Mary Shelley. The writer examines how it parallels the relationship between God and man and God and Satan in the Bible, being sometimes a father-son and sometimes a creator-creation one. The writer discusses how Frankenstein's creature, like Satan after being rejected by his creator, becomes angry and embittered and blames others for his own choice of evil over good. The writer concludes that the overwhelming regret and remorse shown by both Dr Frankenstein and his creation seems to reflect Shelley's belief that God created the human race with a conscience and a sense of guilt that would always restrain mankind from attempting to become God.
From the Paper "Dr. Frankenstein's creature finds himself in much the same circumstances, pursuing a crash course with the doctor, haunted by the fact that his creator is so horrified that he wishes he had never created him. The creature, throughout the entire story seeks to justify his existence through acts of violence directed towards those individuals the doctor loves most. It's ironic that the creature seems to be espousing the principle, 'if you won't love me, you won't get to love anyone else.'"
Abstract An analysis of Milton's use of language in "Paradise Lost", Book X, to show Adam's processing of guilt after the fall as he moves from lamenting God's wrath to appealing to his mercy. Adam moves away from identification with Satan to identification with the Creator.
From the Paper "By Book X of Milton's Paradise Lost, the crime has been committed, the sentence has been passed and now the criminals must deal with the punishment. Adam and Eve are no longer residents of Paradise, they are mere human beings. They react to their punishment in very human ways. At first they are overwhelmed with guilt and agony, feeling deeply the satanic stigma of their crime against God. As they process their guilt, as earth's first humans, they invent rationalization. In order to live with the reality of how things are, they must come to terms with living with God's eternal wrath. In order to survive they must move from identification with Satan, the cause of their guilt, toward identification with the all-powerful Creator who will forever govern not only their personal fates, but those of their offspring and all their human descendants. The language which Milton puts into their mouths shows their progress along the psycho-theological matrix which moves them along the axis away from satanic guilt and toward angelic acceptance."
Abstract This paper discusses how both "My Fair Lady' and "Pygmalion and the Statue" employ "heroes" who create masterpieces of their respective trades that bring about good, but unexpected results. Though this theme applies to both stories, there are several inconsistencies and differences between them and their respective characters. This paper first examines how the myth and the play follow the ?Creator? theme and then explores the similarities and differences of their plots and characters.
From the Paper "The theme of "Pygmalion and the Statue" perfectly coincides with the "Creator" theme. Being a marvelous sculptor who creates a beautiful statue of a girl, named Galatea, Pygmalion represents the hero. At first his creation pleases him tremendously; this pleasure rapidly deteriorates into frustrated desire after he falls in love with it. To fulfill the unexpected portion of the theme, Venus transforms the ivory statue into his living bride after he begged for a wife of that caliber."
Abstract This paper examines how the teleological argument for the existence of God holds that the universe shows signs of order and design; therefore, there must have been a creator. The author puts forward the argument that purpose can only be based on circumstance, and therefore, there is no such thing as presupposed purpose.
From the Paper "William Paley's argument for design is famous for the watchmaker analogy. This analogy doesn't really seem to fit, however. A watch is an intricately designed mechanism with a specific purpose, but there is nothing superfluous about it. Every part of the watch is there for a single purpose, to help one tell time. The Earth is clearly not so single-minded. "Millions of species of living forms have lived and perished and this temporary condition applies to inanimate forms as well as to living forms" (Brill 102). Dinosaurs ruled the Earth for millions of years without seeming to have any specific purpose. (Unless we suppose that their purpose was to one day supply human beings with a source for oil). If it was an asteroid impact 65 million years ago that caused the dinosaurs to go extinct, this event can only be couched in terms of incredibly fortunate chance."
Abstract This paper explains that Sigmund Freud, considered to be the seminal figure in the creation of psychotherapy through his technique of psychoanalysis, pioneered the underlying theoretical perspective of the id, the ego and the superego, which are still applicable today; however, many more contemporary psychologists discredit his theories as a sort of self-focused sexual mayhem plagued in a latent way by the romanticism of his era. The author points out that Carl Jung shares many of his underlying concepts with Freud's basic philosophies; however, Jung was more spiritual in his pursuit of meaning than Freud, who detested religion and saw it as a unproven illusion. The paper relates that Erik Erickson, also a follower of many Freudian principles, established his own psychotherapeutic theories of social development that, during childhood, after establishing a sense of self-regulation, individuals must begin a process of struggle and change, which continues throughout childhood and into adulthood.
Table of Contents
Introduction
Early Work of Freud and Jung
Early work of Erickson
Conclusion
From the Paper "The individuation process was also seen by Jung to be potentially induced by trying to make a connection in the individual between their conscious and unconscious self/selves, through analysis and deliberate action. Jung favored this form of coaxing out the individuation process in an analytical setting. Obviously, this process does not occur
during early childhood, and is seen by most to have its roots in the second half of an individual's adult life. "Perhaps Jung's most original contribution is that of the collective unconscious and archetypal patterns and images that arise from it. " Jung was also somewhat strict about the individuation process being facilitated only by his own methods and descriptions and was distrustful of other methods such as yoga or other eastern paradigms of awareness and enlightenment as being legitimate."
Abstract This paper discusses the female characters in "The Awakening," written by Kate Chopin. It shows how the characters share certain experiences and attitudes with their creator, both for good and ill. The paper begins by providing a background to the life and writing career of Kate Chopin. It then focuses on the two characters of Edna Pontellier and Adele Ratignolle in the book.
Table of Contents:
Introduction
Kate Chopin
The Awakening
Conclusion
From the Paper "Edna is the central character and also the woman who mirrors certain aspects of Chopin's life. She is a woman who feels enslaved by her domestic role and who chafes so at this role that she finally prefers to commit suicide rather than continue, even after she has freed herself from her reticence to express herself and to do so through her artistic endeavors. She is first a frustrated artist, but more deeply she is a frustrated human being who cannot abide in a world that treats her as less important because she is a woman. Her relationship with her husband has long been damaging to he, and whie her relationships with Robert and Arobin free her from certain ideas and help awaken her to a different vision of herself, those affairs are also destructive in the end. Edna is a woman who cannot live in the sort of society in which she finds herself, and she makes the choice to leave life rather than do so. This extreme reaction is not why the novel was treated so badly when first published, and the reason it was can be found in a society that did not want to recognize the singular needs and abilities of women outside the narrow role given them in the home."
Abstract This paper discusses the "Out of the Inkwell" series (1919-1921) by the Fleischer brothers, which was developed in order to demonstrate Max Fleischer's invention of the rotoscope. The paper specifically looks at the oftentimes puzzling relationship between the protagonist of the shorts, Koko the Clown, and his creator, Max Fleischer, who, more often than not, subjects Koko to strange and often painful situations.
From the Paper "This finale presents a puzzling situation, whose hand comes from off-screen to interject in the life of the live-action creator of this world? This places not only Koko but Max as well as the creations of a more powerful orchestrator than even Max the animator. The mysterious hand could possibly represent Max Fleischer the filmmaker, instead of Max, Koko's animator in the shorts, but the conclusion is certainly left unclear. Still, it is moments like these that cement the Out of the Inkwell series in my mind. Unlike the later Disney cartoons, which seemed to exist only as exercises in progressing realistic cartooning, the Inkwell shorts are imaginative and funny, not restricted to laws of reality or logic. The series delights in showcasing the line between the real world and the animated world, how an animated clown can jump all over it."
Abstract The paper examines Blake's poems, "The Tyger" and "The Lamb", and shows how, in both poems, the poet presents the subject's creator and the animal in different ways. The paper explains how "The Tyger" and "The Lamb" ultimately complement each other, even though they seem to be about two completely opposite subjects.
From the Paper "Different points of view come into consideration when we read William Blake's poetry. His poems of experience and innocence demonstrate this technique. Two examples of the poet expressing two points of view is seen in "The Tyger" and "The Lamb." These poems are excellent to compare and contrast because of their striking differences. Both poems see the subject's creator in different ways. In "The Tyger," the creator is presented as a powerful force that should be feared while in "The Lamb," the subject's creator is presented as a good and kind force. In addition, the poet delves into the notions of experience and innocence creatively in these poems. While "The Tyger" is a poem about an aggressive creature, we see hints of innocence throughout it. Similarly, "The Lamb" is a poem an innocent creature but we see a tone of experience in it."
This paper analyzes the relationship between Victor and the monster in 'Frankenstein', by Mary Shelley, and discusses its evolution over the course of the narrative.
1,534 words (approx. 6.1 pages), 0 sources, 2009, $ 50.95
Abstract In this article, the writer analyzes the significant role of the evolution of the relationship between the monster and Victor Frankenstein which strengthens the tragic mold of the novel by exploring various themes such as monstrosity as a construct, story-telling as a tool of self-empowerment and the relation between the creator and creation. The writer discusses that as their relationship develops, Frankenstein and the monster emerge as mirror- images of each other, unified in the nature and cause of their tragedy. The writer concludes that the granting of voice, agency and reason to the marginalized monster can be seen as a dramatic representation of femininity with Mary Shelley writing from the margins of a patriarchal society. Further, the writer maintains that language and learning become significant ideological tools of self-empowerment through self-representation and articulation.
From the Paper "It is important to emphasize that throughout the text the idea of sympathy, friendship and companionship are presented as important elements of life. For example, the relationship between Victor Frankenstein and his best friend Henry Clerval, mutual understanding and sympathy among the cottagers and the developing compassion for Frankenstein in the eyes of Walton, the frame narrator and so on are described with typical romantic projections of beauty and stability in nature and natural phenomena.
"Moreover, the text is also largely defined by the reader's sympathies with various characters. And, in this context monster's tale emerges as a powerfully structured narrative with important rhetoric components of ethos, logos and pathos to represent him as someone who was essentially benevolent and good but "misery" turned him into a "fiend". Herein, by giving him voice in the narrative the text becomes more objective and democratized in its representation."
Abstract This paper explains that, according to astrophysicists, society may never have a way of accessing any information about anything that occurred prior to the first milliseconds after the Big Bang; therefore, the truth of whether or not any God or Creator is responsible for the existence of the universe and life may never be known for lack of necessary data. However, the author continues, many 20th century philosophers believe that the harmony of nature proves the existence of a creator. Nonetheless, presently, the paper underscores, there is simply no logically sound argument to suggest that the existence of any God or Creator is even one iota more likely than not to be true.
Table of Contents:
Introduction
Analyzing the Issue Is Impossible because it Lies Outside the Realm of Human Intellect
The Mere Fact that We Exist Is Proof that a Creator Exists and the Inability to Explain Spontaneous Creation Proves that a Creator Is Necessary
Increasing Complexity Violates the Second Law of Thermodynamics
The Universe Could Not Have Come into Existence from Nothing
The Harmony of Nature Proves the Existence of a Creator Conclusion
From the Paper "Answering the question by reference to a God or Creator simply raises the exact same logical problems about the Creator: (1) if the self-creation of the universe is impossible, a self- created God is equally impossible; if spontaneous origin of the universe is impossible, a spontaneously originating Creator is equally impossible; and if the reality of the mechanism behind the origin of God is too complex to understand, it does not in any way explain or solve the perplexing problem about the existence of the universe."
Tags: thermodynamics, cultural definitions, system self-creation, logical
principles
Abstract This paper examines the ?father-creator? God, a "trickster" God, and a "love" Goddess of Greek, Norse and Egyptian cultures. The author believes that the ?father-creator? Gods have the most in common: Greek God, Zeus, the Norse God Odin and the Egyptian God Amen-Re. The paper introduces the "trickster Gods": Norse God Loki, the Egyptian God Seth, and the Greek God Prometheus. The paper also describes the "love goddesses": Egyptian Goddess Hathor, Greek Goddess Aphrodite and Norse Goddess Freya.
From the Paper "The myths of these gods also referred to the sky. Both Zeus and Odin had palaces high above the mortal world, known as Mt. Olympus and Asgard. These palaces served as meeting places for the gods, and as observation decks. Zeus is often depicted as looking down from Mt. Olympus into the mortal world. Odin also gazed at mortals and gods similarly, from Hlidskialf, his throne in Asgard. Though he did not have a palace in the sky, Amen-Re was referred to as the "Sun" god. "
Abstract This paper examines how robotics is now entering a phase where it's possible to create beings that are capable of learning and discerning for themselves. It looks at how film has broached this topic in different ways in recent years, first, in "Blade Runner", and then later on in the movie, "Artificial Intelligence". It discusses the premise that the creators in these movies don?t appear to be making beings like themselves and how they appear to be making images of the human creator. It attempts to show that the characters of Tyrell Corp and Professor Hobby were not creating themselves as God, but rather were trying to create God Himself.
From the Paper "In the movie BR, the gargantuan corporation, Tyrell Corp, is responsible for the creation and maintenance of robots. They are lead by the genetic engineer Eldon Tyrell. These robots, replicants, are given four years to live, and limited emotional response. The reason for this is to be able to test and determine who is human and, who is replicant. In the creation of these replicants, Tyrell seeks to make them ?More Human Than Human.? In doing so he is seeking for a way to make replicants divine. He seeks to use the Voight-Kampff test used by the police to detect replicants to better modify them to his own needs."
Abstract This paper explains that the music and movie industries are starkly opposed to the use of Kazaa's technology because it infringes upon copyright laws and decreases the profits made from music and movie sales. The author states that the creators of Kazaa, three Estonian computer programmers, revolutionized the way that peer-to-peer networks work over the Internet and also have created a telephony software program for the Internet known as Skype. The paper relates that the lawsuits in the U.S. District Court in Los Angeles against the use of Kazaa are complicated because Kazaa has been deemed legal in Europe where the company resides.
Table of Contents
Introduction
The Technology
The Creators of Kazaa
Ethics Regarding the Software
Conclusion
From the Paper "The music and movie industries argue that what Kazaa allows is not "sharing" but stealing. For this reason, in October of 2001 both the music and movie industries sued Kazaa. According to "The race to kill Kazaa" the purpose of these suits were to keep the millions of kazaa users from stealing movies, copyrighted music and software files. The article reports that this task was more difficult than these industries had anticipated. This difficulty existed because unlike other file sharing sited Kazaa does not have a server (it operates on anonymous supernodes) and as a result the industries had nothing to shut down."
