Are there absolute truths or is truth relative? A review of the philosophical concept of truth and an extended discussion of the movie, "Rashomon", to see if the question is even understandable.
Abstract This paper investigates the intelligibility of the philosophical understanding of truth as appearance and reality. After reviewing the nature of the philosophical picture of what constitutes truth, there is an extended discussion of an often-cited example of truth's relativity in the movie, "Rashomon". There is then a discussion of some other examples, which attempt to clarify the philosophical picture, only to conclude that the philosophical posing of truth and appearance is actually not yet understandable.
From the Paper "In Theaetetus Socrates quotes Protagoras with what is possibly the first clear statement of the relativist: that "man is the measure of all things" and that anything "is to me such as it appears to me, and is to you such as it appears to you"? (856, 152a) On the other hand, there is Plato's well-known allegory of the cave in the Seventh Book of the Republic, (747- 750, 514a-518b) in which he advances the notion that there is an ultimate truth that lies beyond our interpretations or appearances of that truth. But how understandable are both the notions of relativism and of an absolute truth?"
Abstract This paper presents an account of the historical method used by Nell Painter in "Sojourner Truth: A Life, A Symbol," to convey the substance of the life of Sojourner Truth. It looks at the painter's interactive approach to dealing with issues of race, class and gender oppression as they affected the life and work of Truth. It looks at sources of Truth's social consciousness and activism.
From the Paper "This research argues that Nell Irvin Painter's biography of Sojourner Truth goes far in accomplishing an interactive approach to dealing with issues of race class and gender oppression as they overlapped andc onverged to affect the life and work of the ..."
This paper looks at the loss of certainty in definite truth by characters in 'Death of a Salesman' by Arthur Miller and 'The Crying of Lot 49' by Thomas Pynchon.
1,350 words (approx. 5.4 pages), 4 sources, 2005, $ 53.95
Abstract In this article, the writer looks at the characters in 'Death of a Salesman' by Arthur Miller and 'The Crying of Lot 49' by Thomas Pynchon. The writer discusses how the characters suffer the loss of the certainty in the definite truth of their lives. The writer notes that ultimately, the characters find a truth in their lives; however, it is not the same as the Truth that they each believed in initially. This paper examines the loss of certainty in definite truth in these works, through the context of the influence of the American Dream on their lives.
From the Paper "The characters in both Arthur Miller's "Death of a Salesman" and Thomas Pynchon's 'The Crying of Lot 49' suffer the loss of the certainty in the definite truth of their lives. Willy has seen his certainty erode over a lifetime, only to be forced to face the truth that nothing is as it has seemed, or as he wanted it to be, as the play draw to a close. Oedipa, however, is thrust into a situation which turns her world uncertain, and which requires her to look for the truth. Ultimately, both of these characters find a truth in their lives; however, it is not the same as the Truth that they each believed in initially."
Abstract This paper provides an overview of truth-in-sentencing laws governing State prisons and the Violent Offenders Initiative/Truth in Sentencing Program enacted by Congress in 1996. It looks at how these laws are part of the justice system's efforts to reform sentencing.
From the Paper "In three decades there have been five major periods of reform. First was the introduction of indeterminate sentencing which was common in the ..."
Tags:truth-in-sentencing, parole, prison sentence, jail time, early release, VOI/TIS
Abstract The paper looks at the theories of George Lakoff and Rafael Nunez, as well as those of Keith Devlin in order to explore if there are really any universal truths in maths. Set off by an excerpt from Robert Sawyer's novel "Computing God," the paper theorizes that there really are not any universal truths, at least none that can be defined until all forms of life are themselves defined. The paper points out that this is neither the quantification nor the metaphor and symbolism that math requires and uses.
Abstract According to Dewey, the path to truth was a direct consequence of the nature of reality. Dewey believed that all things and events in the world are natural. The paper shows that from this it follows that we can discover truth via the route of scientific investigation. Basically, nature as we experience it in our ordinary lives, or through science, is the ultimate reality, while people are part of nature and are able to find their goals and meaning in the world we see around them.
Abstract This paper examines the critically acclaimed Vietnam War novel of Tim O'Brien's, "The Things They Carried". It explores the literary issues of historical quasi-fiction in the sense that it sees truth not as definitive but as something that changes with the story. The paper describes O"Brien techniques and influences on this novel and the author. The novel is a semi-fictitious piece of work, drawing strongly from the experiences of O"Brien in the war. The paper also notes the tools O?Brien uses to tell his story, particularly the use of various symbols and relics, speaking strongly of a time long gone.
From the Paper "Truth, for the writer, is defined by its creator. Truth, for the reader, is defined by interpretation of the text and the story behind the text. Somewhere in between lies the task of story-telling, that ability of a writer to put his or her experiences, or perhaps his or her imagination onto paper, in the most "truthful" way that he or she knows how. Truth, by a more traditional definition, is defined by facts. Truth, in an authorial sense, lies more in the hands of the reader. Truth no longer lies in fact but in the response of the reader or rather the experience of reading itself. Facts become irrelevant when an author's inventions become the vehicle for truth. Speaking of the art of storytelling, Ernest Hemingway once said that a ?writer's job is tell the truth. His standard of fidelity to the truth should be so high that his inventions should produce a truer account than anything factual can be.? This definition outside of a body of text is a contradiction in terms, but when examining the text, truth lies not in the words but in the response of the reader. A "true story" is not one that is true to the facts, but is one that is true to the story. Because the "truth" is not spelled out for the reader, it is the job of him or her to create the truth in the mind, the heart, and the stomach."
This paper examines why it is that the memorial to women's suffrage in the Library of Congress includes Susan B. Anthony, Elizabeth Cady Stanton and Lucretia Mott but not Sojourner Truth.
Abstract This essay examines why Sojourner Truth, one of the great American heroes, was excluded in the memorial to women's suffrage, by looking to a much less well known woman who was essentially her contemporary, Harriet Ann Jacobs.
From the Paper ?Jacobs, who (like Frederick Douglass) spun the chaff of her experiences as a woman defined by and oppressed because of her race into an eloquent and uncompromising narrative of the enduring strength of the human spirit and the lure of freedom to those denied it.
Born into slavery, Jacobs still was also taught to read at an early age. After being orphaned, she becoming increasingly close to her maternal grandmother, Molly Horniblow, who had been freed from slavery; their relationship is described in loving detail in her autobiographical Incidents in the Life of a Slave Girl. The work begins with one of the most compelling opening lines imaginable: ?I was born a slave; but I never knew it till six years of happy childhood had passed away.?
Abstract This paper discusses the many problems with ethical relativisim. The major flaw of the theory, that it fails to recognize that many societies have specific reasons for holding the views it does is examined. The ethical relativist's theory states that an inquiry into the right and wrong must be made through a critical examination of the practices and beliefs of the society and one must look for connections for the underlying universal truths. The author shows why the theory for justifying moral practices and beliefs from an ethical relativist's point of view fails to do so.
From the Paper "It would be only logical to start of any philosophical essay with an explanation of what the paper is to be discussing; in this case, Ethical relativism. The entire process of any Philosophical approach is that of logic. When discussing ethical relativism, there are two rather simple sides to the argument. Although simple, they are none the less extremely important. Ethical relativism is the thesis that ethical principles or judgments are relative to the individual or culture. To many people when stated so vaguely, it is embraced by a large number of people and philosophers alike. However, not only do some Philosophers find this thesis patently false but many people in societies all over the world dismiss this theory as gibberish. Which side if any is correct? Or at bare minimum, partially correct (Timmons, Mark 69)."
Abstract The following is an essay and analysis on W.V. Quine's central arguments in his work titled "Two Dogmas of Empiricism". In particular, this paper will focus on the argument that maintains that there can be no analytic truths with out some consideration of synthetic variables as well. In short, it is argued that synthetic factors have a determining impact in shaping what we have traditionally regarded as 'analytic'. Thus, a consideration and analysis of what Quine regards as 'analytic' and 'synthetic' becomes a central concern.
Abstract This is a 4 page discussion paper on the book "Charlotte Temple: A tale of truth" by Susanna Rowson analyzing Charlotte's emotional and physical captivity.
Abstract The paper argues that fundamental truths cannot be arrived at by math. The paper is of the opinion that this is insofar as the questions we ask, the processes we use and the assumptions we make are shaped by environmental, biological and contextual factors that have little - if anything - to do with "rational" and purely objective thought. The paper places great emphasis upon the place of metaphor in the construction of mathematical thought.
From the Paper "The question of whether there are unquestionable truths in mathematics is indeed a puzzling one. This paper will examine the matter by looking a few readings from our class notes. As will soon become apparent, there is much doubt that mathematics leads irrevocably to universal truth; indeed, in the limited space available, this paper will suggest that, because so much of mathematics is metaphorical in nature, Euclidean mathematics and other "relational" branches of math may lead us into the realm of creative metaphor and no further. In fact, as Sawyer seems to suggest, mathematical "truth" - all truth - is essentially the product of cultural epistemology and ontology."
Abstract This paper analyzes, in depth, Friedrich Nietzsche's arguments in his essay "On Truth and Lying in a Non-Moral Sense". The paper focuses on the concepts that Nietzsche describes in his essay, of the creation of the metaphor, the importance of the lie and then discusses the effects that this process has on society.
From the Paper "Truths shape our world. They are the ideas that impose a unified meaning on the chaos and indeterminacy of our lives. People devote themselves to these truths: wars are fought, Earth is subjugated, and culture is created. These rallying cries of civilization: justice, honor, virtue, stewardship, salvation, are the ghosts of our history who have tricked us into believing they are real and deserving of our attention. Nietzsche rages against this hoax in On Truth and Lying in a Non-Moral Sense."
Abstract This paper reviews Will Metzger's personal book of evangelism, "Tell the Truth", through a chapter by chapter analysis as well as an overview of the entirety of the book. The reviewer finds that overall the book has many more strengths than weaknesses. In particular, it is noted that Metzger provides a simple and articulate look at his own brand of evangelism. One weakness the author cites is Metzger's lack of a cohesive discussion of how organized evangelism should occur. The overall tone of the review, however, is positive.
From the Paper "Metzger splits his book into three main parts that are all subtitled. His first part is called "The Whole Gospel". This section is comprised of three additional chapters; the first is "What is witnessing". The goal of this chapter is to examine closely how witnessing is occurring and how it should occur. Witnessing or administering to the lost, is a practice in which we evangelize to the lost through scripture and the gospel. Witnessing is to share the experiences that one has of redemption and the finding of God with others so that they may also have this experience (29). However, Metzger notes that witnessing is not the same as speaking from the gospel, as every individual's private experiences with God varies, the gospel is His own message to us and should be represented holistically. Therefore, our role within the scheme of helping the lost is to provide them with both our own experiences, and to allow them to understand God's words and principles through the gospels. He clearly creates delineation from witnessing and the holy words of the gospel."
Abstract The mysterious Stroheim found countless ways to encourage his facade through his pictures. The paper explains how his lavish spending on his pictures gave him a fairly negative reputation. He could take years to complete his films, including "Foolish Wives". Stroheim's desire for extreme detail, which meant running times of five or more hours, was too unrealistic for the studios and the general public, as well. His version of his art was not compatible with popular films of the time. It took the studios ten years to realize that they could not control Stroheim, and all during this time, he was spending millions of their dollars on his own vision.
From the Paper "Erich von Stroheim was a man people loved to hate and is the image Stroheim loved to give them. In the film Foolish Wives he plays a man masquerading in Monte Carlo as Count Sergius Karamzin and is using counterfeit money to fund his fraud. The "Count" wears a white military uniform with white gloves and uses a monocle in his right eye. The film takes place right after the end of WWI and the Karamzin presents himself as a military man in order to gain more creditability. He also lives in a kind of menage et trois with two other women who help him carry out his frauds. An American ambassador and his wife arrive in Monte Carlo, and Karamzin sees an opportunity to quiet any suspicion of their creditability by associating themselves with the Americans. Soon Karamzin's lies and deceits catch up with him and his counterfeiter murders him without glory and then his body is dumped in a sewer."
