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The most influential study for me was surely that of Leo Tolstoy’s theory and definition of art, for it is must intelligible to my natural reason. I tend to agree with Tolstoy’s claim that good art communicates the thoughts and emotions of what the artist was feeling, that allows us to empathize with him or her, and to share in a noble meeting of ideas. To task art with a didactic and civic purpose seems to me to be worthy of it, and surely the best pieces of art are those which inspire us to excellence. Coming immediately to mind are the classical epics, Iliad, Odyssey, Aeneid – while technically art by virtue of beautiful use of language, they also depict characters in which we are to empathize and learn from, offering us wise guidance and meter for contemplation. It is this sort of art work, along with more modern examples including the works of Shakespeare and Addison, which I find the most moving and rightfully artistic. The visual arts can accomplish similar effect, although in a sporadic and less cathartic fashion. Those works, if underscored by the chief considerations of Tolstoy and the ancients, serve as wholesome subconscious stuff, ennobling the spirit upon their reflection by filling the mind with allegory, wonder and mystery.

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I love Shai Hulud so much:

Be winged, free from the mire of men.
Be winged, leave the dead soil to the dying.
Inherit the wind, soar from the coils that asphyxiate you.
Be winged and climb high, with a wingspan to humble mankind.

[II. THE PERSECUTION OF EVERY NEXT BREATH]

True living and breathing death.
Every breath is surely the last.

But another…

How many more will follow–

And another…

How many more can be endured…

Broken whispers; shy touches to passing flesh.
A twitch of life. A cold shudder.
Defy the instinct to recoil.

Yet another breath…

Ignore your pain
You are not your own,
You are the strength of life and love
To usher in the end.

Was I mindful…
Have I suffered…
Am I of warmth…
Worth affection…
Capable of love…
A vessel of hate and bitterness…

In this death so close, beset with travail,
I am aware of my every fault and failure.

[III. GO FORTH OF LIFE]

Now rest;
Leave your venom behind.
May we all have such strength.

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Aesthetics Review

In terms of effort, I put as much in as I could healthily afford, balancing the chaos of last semester thesis work and graduate school admissions with the chaos of trying to save a hemorrhaging business. I upheld my oaths and duties and lived up to my standards of behavior. I could have improved my participation by mentally preparing more carefully before speaking, as sometimes I spoke nonsense. This is unlike me, as normally words flow through my mouth with expedient power, but the concepts in aesthetics were frustrating and unnatural to me, and so I was muddled down in the indecision of my thoughts. So let it be said that I could have improved my participation by tempering my thoughts with more prudence instead of wasting the listeners time with unexamined thoughts. Then again, some would say this is the good of philosophy, to work through muddled thoughts with a rational process, yet I always came out of class without a feeling of having contented my mind at all.

I benefited most from the private meditations I was able to have after being exposed to the thoughts of other philosophers. While my original perceptions of the discipline were mostly affirmed, I did gain a small share of new wisdom from several key writings, and this paltry nugget made the class worth it. I particularly found Tolstoy’s theories of art to be intelligible to my natural reason, and I wish the classical ideas that are hinted at in the fringes of his writings could have been explored more through the writings of the actual classical thinkers (i.e. Tolstoy hints at the moral domain of art as Plato would, but we didn’t encounter Plato much other than in terms of historical context). I think I had the most trouble with trying to keep my frustration toward modernism tempered with justice and prudence, as I believe the modern mode of thought is not philosophical or healthy for humanity, but I managed to not make anyone cry so I consider this a success. As far as feeling uncomfortable, I am comfortable everywhere I go, what could possibly happen to me? Death? There are worse things that could happen, no need to feel uncomfortable.

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The city breathes so softly
Everything is sleeping
I am at the window silently watching
I can see you standing
Alone against the winter
I can hear you asking, but the streets, they are not giving
Don’t look to the ocean
Restless in its dreaming
Don’t look to the heavens for they will tell you nothing
If living is for learning
Then dying is forgetting
Once we have forgotten then we can go on loving

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They attack this one man with their hate and their shower of weapons. But he is like some rock which stretches into the vast sea and which, exposed to the fury of the winds and beaten against by the waves, endures all the violence and threats of heaven and sea, himself standing unmoved.
The Aeneid (X, 692)

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<Xennik>    we are reporting you as you type, 10 swedes are coming to your hourse by the hour to teach you a lesson.
<Peksi>    i am reporting you
<Peksi>    damn, in after
<tyr`>    gl getting swedes here in an hour
<tyr`>    would need to use a rocket or something
<Pherkele>    they have axes
<Pherkele>    they will drink blood out of your skull
<Peksi>    they ahve longboats
<Pherkele>    being vikings and all
<tyr`>    i shall make a phalanx of hamburgers, corrupt politicians and baseball bats to repel them
<Pherkele>    you’re american?
<Peksi>    Pherkele: HOW DID YOU GUESS IT
<Pherkele>    I’M LIKE THE SHERLOCK HOLMES OF HELSINKI
<Pherkele>    THAT’S HOW

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If the question must be asked: “Did the father or child paint that?” then the value of modern abstract art is revealed. It can be of no surprise that while pluralism and moral relativity are heralded as virtues a society is unable to think soberly in other matters. In a pluralistic society everything is tolerated in the spirit of democratic benevolence, to a fault. Deriding ostentation, flimflam and trickery is considered in such a society to be an exercise in fascism, as the pampered masses are unable to endure the most fleeting criticism and hide behind their gilded aegis of relativity, shouting proudly to the sky that only the individual can judge the true nature of reality. So it is with abstract modern art, the most telling example of modern mental dysfunction; the people accept random patterns that a child could splatter as art, as they believe that nothing can be true, that no standards are to be applied to their behaviors, else we intrude upon cosmopolitan pretensions and offend their shallow liberal affectations. The human race is no more aware of the case in the 21st century than in the days of bloodletting, substituting a subservient worship of sky gods with a subservient worship of a celebrity obsessed with exploiting the sheep-eyed parish for material gain. Marla Omstead is not a prodigy, but a prostitute pimped ruthlessly by a cynical and cold world, a casualty of a civilization that has rejected reason so that it might rest in a world of superficial realities, willfully ignorant to the rotting foundation underfoot.

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The humanities, the great works of the human spirit which we study to supposedly enrich our character and understanding of what it means to be a human being, have formed an integral part of higher education since at least the time of the great classical thinkers Plato and Aristotle. Yet seniority alone has not shielded the great works from scrutiny, now subject to various criticisms of the cynical modern eye, none so scathing and as vigorous as those proposed by literary scholar Stanley Fish. The humanities are charged with failing students in preparing them for life, said to be nothing more than fanciful entertainments and pleasurable diversions from reality, obsessions of which are not only wasteful but potentially divisive. Responding to these criticisms is Wilfred M. McClay, who in “The Burden of the Humanities” argued in stark contrast, being so bold as to claim that the humanities are needed “in order to understand more fully what it means to be human, and to permit that knowledge to shape and nourish the way we live,” (38) serving as the cornerstone of human civilization and meaning.

McClay interprets much of the criticisms of the humanities’ place in academia to be of a narrow-minded scope. While critics such as Fish claim that the humanities have no use in the technical and practical world of contemporary society, save their entertainment value, that the people of this age have no time nor can gain anything from the abstract world of ideas and sublime knowledge, the author proposes a critical flaw in such reasoning, explaining “the difficulty comes when we operate with too narrow a definition of ‘use'” (38). Yes, the humanities will not immediately offer us guidance in matters of filing tax returns, or in fixing a broken head gasket, but this does not mean that the great works are useless, but could perhaps fulfill another altogether crucial function. For McClay this function is the “[making]” of a “genuinely meaningful human life” (38), of grounding in the human spirit a sense of contentment, meaning and duty, that bonds to the very core of the being, related as a contemplative spiritual exercise in the form of storytelling. If money is the end of all things, the author notes, why can the rich be unhappy? The humanities elucidates such incongruities by exposing to us the wisdom of the ancients, who seemed obsessed with not appearing to live well, but living well – the quest for human excellence – and so encountered the obstacles and vices our modern liberal societies seem unable to overcome, no matter the dysfunctional and ill-tempered indulgence of modern ingenuities and pharmaceutical placebos, and more alarmingly at times embrace as virtues.

A second function of the humanities as outlined in the article is in revealing to us the importance and knowledge of our cultural past, “for [one] can’t really appreciate… or know the value of American liberty and prosperity, or intelligently assess America’s virtues and vices against the standard of human history and human possibility, unless you pay the price of learning the stories. (39)” A society ignorant to its cornerstone goods and principles is a society enfeebled, unable to cope with challenges both internal and external, as it has no standard or context in which to judge the good by, suffering the malnourished stock of modernism, starved for myth and meaning.

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I am of the opinion that a proper education involves a process of tempering an individual so that they become capable of rebuilding society if it were to fall tomorrow. To this dictum I have tried to remain faithful in my studies, remaining indifferent to fanciful and vain knowledge, and holding defiantly to the lifestyle of the camp-bed and cloak, scoffing at the pretentious waste of the modern intellectual cult.  To every piece of knowledge I pose this question: will this offer guidance to a citizen in matters of piloting his life, in enriching his character, in forging virtue; will this bring about a right kingly disposition? If no, let us be eager to cast it away as useless with the keen blade of reason.

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The prudence to know the difference between what can be changed and what cannot be changed.

The fortitude to endure the thorns and bramble of what cannot, and to live by what can.

The justice to treat others as they deserve, according to bond, ‘nor more, nor less’.

The temperance to pilot such vessels of goodness with impartiality and good compass.