Platos Meno Essay - 799 Words

The dialogue opens up with Meno asking what virtue is and whether it could be taught. Socrates asks Meno for a general definition of virtue, since as Socrates points out, we cannot figure out if virtue can be taught if we do not have a clear idea what it is. Socrates is looking for a general, or formal definition of virtue, not just examples or instances of it. Socrates wants to know what all the examples of virtue have in common. He wants to know the essence of virtue. Meno initially offers a list of virtues, but Socrates rejects this as a sufficient account. Meno also states that there are different virtues for everyone. The virtue of a man is to order a state and the virtue of a woman is to order a household. I believe that virtue can†¦show more content†¦First, it needs to be determined if virtue is a kind of knowledge. Then if it is, we can conclude it can be taught. And if virtue is not knowledge, thus concluding it cannot be taught. Socrates argues that virtue is know ledge, but then he changes course abruptly at and begins to argue the other side. Socrates points out there are teachers for medicine, priesthood and so on; everybody agrees that these are genuine teachers, whereas people disagree about whether the Sophists really do teach virtue. Maybe this again is because virtue cannot be taught. nbsp;nbsp;nbsp;nbsp;nbsp;Neither of the early questions – whether virtue is knowledge, whether virtue can be taught, the nature of virtue itself – are answered. We arrive at some clarity about the unexpected issue of the nature and importance of knowledge. Knowledge is justified as true belief. You need to be able to explain and support your true belief because otherwise this knowledge will escape form the mind. Socrates uses the slave boy to demonstrate the process of recollection by asking him questions about a geometrical problem. Socrates has shown that there exists an additional cognitive state that can guide one much in the same way as one guided by knowledge. This state is the state of true opinion. Although true opinion is always true, it is fleeting and impermanent. I believe virtue is anything that may be advantageous in one’s own way. It may be good, it may be bad inShow MoreRelatedThe Text Of The Meno By Plato938 Words   |  4 PagesIn the text of the Meno by Plato, the dialogue develops and attempts to answer the question of what virtue is, and whether it is teachable. The paradox explained can be used to discuss merely anything, and we can thus say that either one knows or does not know. If a person knows, then they cannot investigate or question their knowledge. However, if a person does not know, they cannot inquire about it which means a person cannot question for not knowing what they do not know. Plato goes ahead and resolvesRead MoreEssay on MENO: PLATO600 Words   |  3 PagesSocrates, can virtue be taught?1 The dialogue begins with Meno asking Socrates whether virtue can be taught. At the end of the Meno (86d-100b), Socrates attempts to answer the question. This question is prior to the division between opinion and knowled ge and provides to unsettle both. Anytus participated in Socrates and Meno conversation about virtue. Socrates claims that if virtue is a kind of knowledge, then it can be learned. If it is something besides a kind of knowledge, it perceptibly cannotRead MorePlato s Meno As A Socratic Discussion On Human Sexuality And Age1686 Words   |  7 PagesPlato s Meno is a Socratic discussion on the definition of human virtues where the main participants are Socrates and Meno. Other speakers in the dialogue include an Athenian politician, one of Meno s slaves, and Socrates’ prosecutor Anytus, who is a friend to Meno. Meno wants to understand the broad definition of human virtues and while visiting Athens he initiates the dialogue on virtues with Socrates. The discussion begins with Meno inquiring from Socrates whether virtues can be learned. MenoRead MorePlato s Meno And Nietzsche On Truth And Lie1720 Words   |  7 PagesIn Plato’s Meno and in Friedrich Nietzsche’s On Truth And Lie In An Extra-Moral Sense, both writers touch upon the theme of â€Å"truth† and â€Å"knowledge†. In Meno, Plato writes of a dialogue between his late mentor, Socrates and politician Meno. In the Meno dialogue, through a dialectical method, Socrates’s manages to prove to Meno he knows nothing of virtue while On Truth And Lie In An Extra-Moral Sense, Nietzsche analyzes how language isn’t â€Å"truth† and Knowledge is an invention as a means of survivalRead MoreSocrates Vs. Plato : The Essential Themes Of The Meno1633 Words   |  7 PagesThere is not a great deal of context that is crucial to understanding the essential themes of the Meno, largely because the dialogue sits nearly at the beginning of western philosophy. Socrates and Plato are working not so much in the context of previous philosophies as in the context of the lack of them. Further, this is very probably one of Plato s earliest surviving dialogues, set in about 402 BC E (by extension, we might presume that it represents Socrates at a relatively early stage in his ownRead MorePlato s Dialogue : The Meno2000 Words   |  8 PagesPlato’s dialogue the Meno explores the question of whether virtue can be taught. This dialogue provides no contextual setting like other early dialogues do, and instead it begins suddenly with Meno putting forth the question of whether virtue is teachable. Unlike earlier dialogues that mostly revolved around Socrates questioning and refuting an interlocutor who claimed to know something, though the Meno does this to an extent in the beginning, Socrates attempts to offer a potential positive solutionRead MorePlato s Meno : True Opinion Vs.983 Words   |  4 PagesPlato’s Meno: True Opinion vs Knowlege Socrates was one of the most influential and thought-provocative people in all of Ancient Greece; he was so monumental in his teachings that his theories and argumentative styles are still utilized today. One of Socrates’ most influential students was Plato, another ancient philosopher that followed Socrates through Greece and kept record of his arguments and teachings, who would go on to be some of the most significant philosophical academia to ever be publishedRead MoreIs Plato s Theory Of Recollection A Plausible Solution For Meno s Paradox Of Knowledge?960 Words   |  4 Pagesgeneral topic is Plato’s theory of recollection. Is Plato’s Theory of Recollection the plausible solution to Meno’s Paradox of Knowledge? Throughout many of his dialogues Plato often concludes that we cannot know something through our senses. He often concludes that we became acquainted with our knowledge in a previous existence. In Meno, Socrates states that, â€Å"As the sou l is immortal, has been born often, and has seen all things here and in the underworld, there is nothing which it has not learned; soRead MorePlato s The Meno, A Greek Philosopher And The Wisest Of All People1216 Words   |  5 PagesAlexis Evans Midterm Paper 11/4/14 Topic 1 In Plato’s The Meno, Socrates, who was a Greek philosopher and considered one of the wisest of all people expresses his views on the relationship between knowledge and virtue. In todays era, virtue is defined as having good morals as a human being. Knowledge is defined as factual information and skills that are acquired by a person through experience or education. Together Socrates makes a statement and or beliefs, that virtue is knowledge because if youRead MoreComparing Plato Five Dialogues Euthyphro, Apology, Crito, Meno, Phaedo By John M. Cooper1009 Words   |  5 Pagesexist in the world. While this exist in the world some of the things that bring people the most happiness in life is achieving a good education, treating others equally, and loving those around them. An example of this within Plato Five Dialogues Euthyphro, Apology, Crito, Meno, Phaedo by John M. Cooper is the following. â€Å"Men of Athens, I am grateful and I am your friend, but I will obey the god ra ther than you, and as long as I draw breath and am able, I shall not cease to practice philosophy, to

Assignment Evidence Based Practice, Research, And...

Intensive Alternate Assignment: Evidence-Based Practice, Research, and Quality Improvement This paper will address content covered in the Intensive session that occurred in Austin on September 12, 2014. It is an alternate assignment designed to replace classroom instruction and forum exercises of that day. Evidence-Based Health Care Evidence-based health care is the â€Å"conscientious use of current best evidence in making decisions about the care of individual patients or the delivery of health services† (Cochrane, 2014). Best evidence is based on current information from relevant, peer-reviewed research that can include such topics as the effects of health care, the potential for harm, the accuracy of diagnostic tests, and the reliability of prognostic factors (Cochrane, 2014). Several different scales exist to quantify and assess this evidence, such as the one used by the U.S. Preventive Task Force (USPSTF, 2012). For purposes of the DNP program, the scale utilized by the Joanna Briggs Institute is more applicable (JBI, 2013, pdf). The JBI Grades of Recommendation consist of an â€Å"A† grade and a â€Å"B† grade. An â€Å"A† grade signifies a strong recommendation based desirable effect, adequate supporting data, beneficial of low impact to resource utilization, and that values, patient experience, and preferences have been considered. A â€Å"B† grade signifies a weak recommendation where it is unclear if desired effect outweighs undesired effect, the supporting evidence is not of highShow MoreRelatedEvidence Based ( Ebp ) Facility Assignment Essay1518 Words   |  7 PagesEvidence-Based (EBP) Facility Assignment 1. Do you currently use EBP in your nursing practice? Evidence-based practice are methods that have been tested with rigorous and countless scientific and research trials that validate the medical treatment and utilizes the best possible treatment approach known today. 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Arts, Man on Wire, and Bomb the Suburbs Free Essays

Lilian Sun Maczynska The Literary Imagination 20 August 2012 Arts, Man on Wire, and Bomb the Suburbs Pan to Houston, Texas at night. On an episode of Stephen Fry in America, produced by Andre Singer, standing on a stage in a dimly lit room, surrounded by Houston’s elite, actor and comedian Stephen Fry speaks of the importance of the arts. â€Å"Oscar Wilde quite rightly said, ‘All art is useless’. We will write a custom essay sample on Arts, Man on Wire, and Bomb the Suburbs or any similar topic only for you Order Now And that may sound as if that means it’s something not worth supporting. But if you actually think about it, the things that matter in life are useless. Love is useless. Wine is useless. Art is the love and wine of life. It is the extra, without which life is not worth living. † In contrast to Fry, there are people who wish the government would cut funding for the arts. And then there are the artists. People who fight for the right to practice their art, whether they consciously know they’re fighting or not. People who will go to amazing lengths to showcase their art, and their dedication and determination is what gets them mentioned year after year after year. People like Philippe Petit, the quirky French high-wire artist who flew from France just to walk on a wire across the Twin Towers, whose life is forever immortalized in the documentary Man on Wire. People like William â€Å"Upski† Wimsatt, one of the most prolific Chicago-born graffiti artists, who inspired a generation of graffiti artists to view graffiti as an art form in his book Bomb the Suburbs!. Using whatever methods they can, illegal or not, they both worked to achieve their dreams and send their message to the world. They managed to pull people out of the blase outlook mentioned in Georg Simmel’s scholarly essay The Metropolis and Mental Life. One of the most prominent situations where an artist’s dream pulled people out of the unconcerned manner in which they carried themselves was the 1974 high-wire walk between the Twin Towers by Philippe Petit. High-wire walking is a form of tightrope walking, much like tight-wire walking, which is the simple art of maintaining balance while walking on a tensioned wire. The difference between the two is that high-wire is at a much greater height. The amount of concentration and balance and individual must have to accomplish this is extremely important in the art of tightrope walking. This s a testament to the level of professionalism and dedication that Petit had. Although he gained his notoriety in the US for walking between the twin towers, he was already gaining observations from various other places in the world, such as France, where he walked between the two spires of the Notre Dame Cathedral, and Australia, where he walked between the two sides of the Sydney Harbour Bridg e. Petit realized his dream of walking between the Twin Towers when he was sixteen, soon after he had taken up high-wire walking, while in the dentist’s office and seeing an artist’s rendering of the towers as they would look when built. His passion for the art of high wire is best explained by Petit himself in the documentary Man on Wire directed by James Marsh. â€Å"Life should be lived on the edge of life. You have to exercise rebellion: to refuse to tape yourself to rules, to refuse your own success, to refuse to repeat yourself, to see every day, every year, every idea as a true challenge – and then you are going to live your life on a tightrope. † Because of his strong desire to be anything but boring, Petit put everything he had into his art. He practiced with family and friends, letting them help him improve so that one day he would achieve that dream of walking between the Twin Towers. After many years of planning and many hours the previous night setting up, Petit began taking his first steps on the wire. They were all indifferent and did not notice, except the people who were in on ‘the coup’ (his nickname for the act). In 1903, German sociologist, Georg Simmel speaks of the blase attitude the sights and sounds of the city brought to its inhabitants in his essay The Metropolis and Mental Life. There is perhaps no psychic phenomenon which has been so unconditionally reserved to the metropolis as the blase attitude. The blase attitude results first from the rapidly changing and closely compressed contrasting stimulations of the nerves. † (Simmel par. 5) This is very much the attitude New Yorkers had when Petit started walking across the wire, on the Morning of August 7, 1974. Only after his then girlf riend, Annie Allix, began screaming and pointing to the people around them â€Å"Look! Look! Look, a wire-walker! He’s walking! did people look up and see him, this magnificent artist, walking on the wire, and they were astounded. Said the police officer, Sgt. Charles Daniels, who was sent to apprehend him, † †¦ I observed the tight rope dancer†¦ because you couldn’t call him a walker†¦ approximately half-way between the two towers. I personally figured I was watching something that somebody else would never see again in the world. Thought it was once in a lifetime. † By following his dream, no matter the risk (falling to his death, getting arrest d for trespassing), Philippe Petit brought to the world, his own little piece of art, forever immortalized in history, and will always be known as the man who laid in the clouds. Fast forward twenty years, and you’ve wandered into the time period of William â€Å"Upski† Wimsatt. A poo r white boy, growing up in the ghetto of Chicago, he was gifted with the art of graffiti. Graffiti is a form of public art, usually spray painted on walls, lamppost, mail boxes, or any other public surfaces, originally used as a form of marking territories between gangs. As time progressed, it became less of a mark of territory, and more of an art form. When graffiti emerged as an art form in the late 1960s in New York City, it was immediately a contentious topic. (Bowen 22) The connotation with gangs and vandalism have fueled the media to paint it in a negative light, and many graffiti artists, or â€Å"writers† as many of them consider themselves, feel that if they spoke up about it, they would be patronized for their art and passion, especially since so many artists came from the ghetto, so instead, they just continued to quietly graffiti on their own, only signing their pieces with their signature, or what is known in the graffiti world as a â€Å"tag†. Above: William â€Å"Upski† Womsott’s tag (left), A piece by Upski entitled â€Å"Upski† (right) A 20-year-old Wimsatt saw the injustice behind this and set out to â€Å"†¦be a pioneering graffiti writer, to be a hip-hop organizer in Chicago, and the be a hip hop journalist. † (Wimsatt 164) in order to revel in the art of graffiti. He writes â€Å"†¦ let’s celebrate the city. Let’s celebrate the ghetto and the few people who aren’t running away from it. Let’s stop fucking up the city. Let’s stop fucking up the ghetto. Let’s start defending it and making it work for us. † (Wimsatt 11) On the surface of it all, it seems as if Wimsatt only has a strong personal vendetta against suburbs, but he also supports the art of graffiti in a strong way, being an artist himself. With the publication of his book, he inspired a generation of graffiti artists in the 80s and 90s to not hide their art, but to display it proudly and have pride in it and they city in which they live. Although the act of vandalism is illegal (Wimsatt tells of stories where he had to hide and run from the police, or what he perceived to be the police in his paranoia), Wimsatt encourages the act of graffiti in spaces where it can be seen, writing to a fan and fledgling graffiti artist, â€Å"Choose spots that maximize the good impact of the work, while minimizing its bad side-effects. Maximize public exposure, surprisingness and daring of a piece, while minimizing its insult, and cost to people of the city. The best targets for piecing are usually abandoned buildings, rooftops, and neighborhood permission walls, especially in unexpected places. Questionable targets include all public or private property that gets buffed and raises the cost of living. † (Wimsatt 57) With this, he deliberately proves that he wants to bring recognition and fame to the beauty of the art of graffiti for the art, and not for any destructive reason. Petit and Wimsatt have both brought fame to themselves, and their arts. They both risked getting arrested by the police to be able to showcase this, to inspire a nation, and to motivate a generation. Through diligence, commitment, and persistence, artists every day, not just Philippe Petit and William â€Å"Upski† Wimsatt, contribute to the life force of the arts, as more and more people become aware of the importance of the arts, and rally to support it. Petit and Though, yes, the arts are not necessary to live, and not every person needs it to be able to sustain a job or anything of the like, however, if one would just imagine the works without art, it is a bleak world. No paintings, no music, no tv, no fashion, no anything that makes this world one worth living in. Like Stephen Fry said, â€Å"Art is the love and wine of life. It is the extra, without which life is not worth living. † 10 Philippe Petit and William â€Å"Upski† Wimsatt unquestionably believe that. Works Cited * Bowen, Tracey E. â€Å"Graffiti Art: A Contemporary Study of Toronto Artists. †Ã‚  Studies in Art Education  41. 1 (1999): 22-23. Print. *   Fry, Stephen. â€Å"Mountains and Plains. †Ã‚  Stephen Fry in America. Dir. John-Paul Davidson and Michael Waldman. BBC. 02 Nov. 2008. Television. * Man on Wire. Dir. James Marsh. Prod. Simon Chinn. By Igor Martinovic, Michael Nyman, J. Ralph, and Jinx Godfrey. Magnolia Pictures, 2008. DVD. * Simmel, Georg. â€Å"Altruists International – 404 Error Page. †Ã‚  Altruists International – 404 Error Page. N. p. , n. d. Web. 23 Aug. 2012. ;http://www. altruists. org/static/files/The%20Metropolis%20and%20Mental%20Life%20(Georg%20Simmel). htm;. * Wimsatt, William Upski. Bomb the Suburbs. New York, NY: Soft Skull, 2000. Print. How to cite Arts, Man on Wire, and Bomb the Suburbs, Essay examples