Conversation between two philosophers.

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1.) A parrot and a 4-year-old boy are overhearing a conversation between two philosophers. One philosopher is heard asserting that he really likes Aristotle. After a few days both the parrot and the 4-year-old start using the term “Aristotle”. The parrot seems to amuse himself uttering “Aristotle” numerous times, while the willful 4-year-old boy insists that he definitely does not like Aristotle. (Assume that it is the son of a philosopher. Also take it for granted that 4-year olds are linguistically competent, at least in a minimal sense.)

Ordinarily we are inclined to say that the parrot’s use of “Aristotle” does not refer to anything, whereas we would attribute ordinary reference to the use of the same term by the 4-year-old. (If this is not your intuition, explain why not, i.e. why does age make a difference?) Explain how Kripke and Frege would account for the case of the parrot. (Why should Kripke actually deny that the parrot’s use is not referring, since the parrot and the 4-year-old stand in the same causal relation to Aristotle?) Would they agree insofar the 4-year-old is concerned? Even though Kripke might handle the case of the 4 year-old better is his theory sufficiently precise?

 

 

 

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hand, is concerned with decayed emotion. An inconsistency in Gothic is that ‘Gothic novelists did not know how to release their own feelings of frustration and rebelliousness. Their fiction is both exploratory and fearful’ as Kilgour tells us. It usually results in the death of a villain. Miles has a valid point about how you cannot constrain Gothic to a particular type of text, preferring to class Gothic literature as a taste or preference. Overall, I will show that the reception of gothic writing-its institutional and commercial recognition as a kind of literature- played a fundamental role in shaping many of the ideological assumptions about high culture that we now associate with the term Romanticism. The Gothic novel was first invented almost single-handedly by Walpole as The Castle of Otranto fits most of the classifications we see in Gothic today. ‘The Gothic, like any genre, depends on a system of classification, and because genres, as Derrida argues, are never pure, and systems of classification, according to Foucault, cannot be verified, one is pressed to investigate and contest the validity of the definitions and conceptions typically attributed to the term “Gothic”, a kind of writing that is evidently heterogeneous and impure’ (Alshatti, A. (2008).). Walpole’s novel was imitated in the eighteenth century, but it was enjoyed widespread influence in the nineteenth century partly because of the era’s understanding in dark and fascinating themes. He could be said to have been influenced by Shakespearean dramas because in The Castle Of Otranto he plays around with mental disturbances, where Manfred seeks to marry the soon to be wife of his dead son Conrad to keep his genes alive throughout generations. Lady Macbeth evidently suffers from a psychotic disorder with the misfortune of hallucinations which can be induced by extreme guilt. She has the sense of heavy guilt because her and her husband killed King Duncan in cold blood. Gothic, it can be argued, was instrumental in the decisive shift towards popular fiction in its modern form, aimed at a brood readership, commercially streamlined, form

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