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    Evidence explanation and realism essays in philosophy of science

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    Assistant Professor of Theatre Arts. Associate Director of Psychometric Consult President of Asheville-Buncombe Technical Senior Scholar-Practitioners. Tenure-track Faculty Openings. Assistant Professor of Political Science. Executive Director of Student Program Offi Post a Job In print and online today. Retrieved Categories : Philosophy journals English-language journals Biannual journals Humanism Publications established in Equinox Publishing Sheffield academic journals.

    Hidden categories: Biannual journals infobox. Namespaces Article Argumentative essay in philosophy. Moral is a system of views and norms, which occupy the concepts of good and evil, justice, conscience and sense of life. Moral helps people to move forward on the way to self-improvement.

    Moral defines certain values, which regulate human behavior. Each person is free to decide whether to follow this system of norms or not. According to good or evil actions people would be later judged by society and God. For example, according to moral norms one should help weak people.

    Originally it shows human kindness and readiness to sacrifice certain things for the sake of other people. But different people have different motives of virtuous actions. Some people help others because they want to be altruistic in public eyes. Other people follow the Commandments of God. Still others help weak people hoping for approval in society. Each of us has own understanding of what is right and what is wrong. What is good and evil? Evil is lack of good.

    For example, a usual knife is not an evil as it is, but it turns into an evil in the hands of a criminal. The same knife can be used by a doctor to rescue human life. God gives people a chance to decide what to do with this knife. There have been lots of battles in the long human history. But probably dissertation essay in philosophy symmetry greatest of all is the battle between evil and good, decency and immorality, altruism and egoism, love and hatred.

    We face this battle in our everyday life, and try to distinguish evil from good. People choose certain system of values, and follow it in life. Kindness is important for our spiritual health; evil is like a venom. Kindness is not simply a moral duty; it is nutrition for our soul in the first place. Good can exist in various forms and conditions: books, attitude to people, technical progress and justice.

    All of these things have common positive meaning for human life; all of them fulfill social and spiritual needs of people. Good means peace, love, respect, attention and mutual care. In this way it represents everything positive in the sphere of morality. On the contrary, evil contradicts with moral ideals, and hampers people on their way to happiness and joy.

    Help writing scientific paper do good and evil exist?

    We try to understand why our impartial God let violence, aggression and pain penetrate the world. To answer this question, I still should admit that people were given freedom of choice. Without it human life would be senseless. God wants us to act in a virtuous way. It is for people to decide whether to follow His will or not. There are philosophers who think that evil and good are two equal forces. But I think that people are kind beings, because they were created in the likeliness with our kind God.

    In our hearts we approve virtue and reject immorality. Nevertheless discussion of this topic would hardly be able to eliminate pain and sorrow from our world, penetrated with tears of history.

    Everybody knows consequences of evil. Kivy also advances the conjecture that while the novel used to be opaque, it is now, with its becoming commonplace, transparent, much in the way that rhymed couplets are opaque to us now and yet once were transparent, when they were commonplace.

    But without some heavy theoretical assumptions, I am not sure there is much more we can get from the empirical fact that most people read and appreciate novels for their story than the empirical fact that most people read and appreciate novels for their story. Sure, this is an important fact; and story is clearly an important element of most novels.

    But I do not know who would dispute it. However, maybe this criticism misses the larger point, that here lies this undisputed empirical fact and yet philosophy of literature has not paid it much mind. In chapter six, Kivy pushes this larger point exactly and attempts to address the question of why story is so important to human beings.

    Before providing his own answer, Kivy considers and rejects two other answers: 1 knowledge and 2 escapism. One might think that the pleasure we take in stories is predicated on the pleasure we take in acquiring knowledge.

    We like stories because we like knowledge and assume that stories can give us just that. But this thought does not seem in line with our reported reasons for seeking stories.

    A more promising idea is that we turn to stories to escape the real world. This does fit with a reason often given for enjoying stories. But many of the fictional worlds the average reader "escapes" to are worse than her own. So, Kivy claims, escapism itself cannot explain our deep-seated desire to be told a story. Instead, Kivy argues that our desire for and enjoyment of stories must be innate, hard-wired as a product of natural selection. Kivy then goes on to offer an evolutionary explanation.

    An innate desire to be told a story, he suggests, would maximize the passing of practical knowledge from one generation to the next. Aware of the dangers of just-so stories, Kivy invites skepticism of his theorizing. But short of accepting some evolutionary account of our desire for stories, Kivy also essays in philosophy journal ranking skeptics will not dissertation essay in philosophy symmetry far. In chapter seven, Kivy defends his view that silent reading constitutes a performance.

    But the defense he offers is not merely distinct from the one he gives in his monograph The Performance of Reading ; it is incompatible with it. His goal is to defend against the objection that silent reading cannot be a performance because it is absurd to think that a silent reader can attend to how she is reading, to her so-called performance.

    Kivy order business plan with the observation that most concertgoers do not attend to the performance but rather to the music itself. Attention to the performance is usually only given by critics or other musicians.

    Kivy then observes that it is extremely difficult for a musician to attend to her own performance while performing. Thus, Kivy argues, it is unsurprising that it would be extremely difficult for a silent reader to attend to her own silent reading; and thus that is no reason to reject the thesis that silent reading is a performance.

    Maybe so. But that there is, in principle, no one who can attend to a silent reader's reading distinguishes it from the musical cases Kivy discusses; and that distinction alone, in my mind, makes it odd to call silent reading a performance. In the eighth and final chapter, Kivy shifts his focus once more, this time to jokes, specifically those characterized as immoral, those that promote racism, sexism, and the like.

    Kivy offers a view on which jokes are works essays in philosophy literature and their implied narrators' attitudes are what make immoral jokes immoral.

   

 

    CONVIVE CON EL ARTE es  conjunto de actividades didácticas de apoyo al alumno para un aprendizaje mas singnificativo de su materia de Artes dependiendo cualquiera de las opciones que esté tomando y aplicando el Nuevo Modelo Educativo que a partir de 2018 se ha implementado por la SEP donde quedan perfectamente establecidos cuáles son los Fines de la Educación y el Perfil de Egreso del estudiante de educación básica y de manera muy puntual los Aprendizajes Clave que se persiguen.
Están diseñadas de manera que se va obteniendo un desarrollo gradual  en su contenido teórico y práctico.
La materia de ARTES en este Nuevo Modelo Educativo está en el Área de Desarrollo Personal y Social que contribuyen a que los estudiantes logren una formación integral de manera conjunta con los Campos de Formación Académica y los Ámbitos de Autonomía Curricular. En estos espacios curriculares se concentran los aprendizajes clave relacionados con aspectos artísticos, motrices y socioemocionales.
Estas áreas son de observancia nacional, se cursan durante toda la educación básica y se organiza en Artes, Educación Física, Educación Socioemocional (preescolar y primaria) y Tutoría y Educación Socioemocional (secundaria).
Cada área aporta a la formación de los estudiantes conocimientos, habilidades, valores y actitudes enfocados en el desarrollo personal, sin perder de vista que estos aprendizajes adquieren valor en contextos sociales y de convivencia.
Por medio del arte, los estudiantes aprenden otras formas de comunicarse, a expresarse de manera original, única e intencional mediante el uso del cuerpo, los movimientos, el espacio, el tiempo, los sonidos, las formas y el color; y desarrollan un pensamiento artístico que les permite integrar la sensibilidad estética con otras habilidades complejas de pensamiento.
La Educación Física dinamiza corporalmente a los alumnos a partir de actividades que desarrollan su corporeidad, motricidad y creatividad. En esta área, los estudiantes ponen a prueba sus capacidades, habilidades y destrezas motrices mediante el juego motor, la iniciación deportiva y el deporte educativo. Este espacio también es un promotor de estilos de vida activos y saludables asociados con el conocimiento y cuidado del cuerpo y la práctica de la actividad física.
En Educación Socioemocional y Tutoría, los estudiantes desarrollan habilidades, comportamientos, actitudes y rasgos de la personalidad que les permiten aprender a conocerse y comprenderse a sí mismos, cultivar la atención, tener sentido de autoeficacia y confianza en sus capacidades, entender y regular sus emociones, establecer y alcanzar metas positivas, tomar decisiones responsables, mostrar empatía hacia los demás, establecer y mantener relaciones interpersonales armónicas y desarrollar sentido de comunidad.
El desarrollo personal y social es un proceso gradual en el que el estudiante explora, identifica y reflexiona sobre sí mismo; toma conciencia de sus responsabilidades, así como de sus capacidades, habilidades, destrezas, necesidades, gustos, intereses y expectativas para desarrollar su identidad personal y colectiva.
En estos espacios se pone especial atención en promover relaciones de convivencia que fortalezcan el autoconocimiento para comprender el entorno en el que se desenvuelven, interactuar con empatía en grupos heterogéneos, resolver conflictos de manera asertiva y establecer vínculos positivos con el mundo. De esta manera, se pretende que los estudiantes sean capaces de afrontar los retos que plantea la sociedad actual, desarrollen un sentido de pertenencia a diversos grupos y valoren la diversidad cultural.
Por ello, desde la escuela es necesario impulsar ambientes de colaboración y generar situaciones de aprendizaje en las que los estudiantes valoren la importancia de trabajar en equipo, compartir sus ideas y respetar diferentes puntos de vista. En las Áreas de Desarrollo Personal y Social se evita asignar calificaciones numéricas y se utilizan los criterios suficiente, satisfactorio o sobresaliente para evaluar los logros. Por ello, se promueve una dinámica flexible que permite el trabajo guiado y libre de prejuicios, comparaciones y competencias. En su lugar, se busca favorecer el compañerismo; el reconocimiento personal y el apoyo, así como la colaboración y la confianza para expresar emociones, creaciones, ideas y sentimientos sin el deseo de alcanzar un estereotipo.
En este sentido, el docente asume una función de acompañante en el proceso de descubrimiento, exploración y desarrollo de las posibilidades de sus estudiantes, promueve situaciones de aprendizaje que afrontan de diversas maneras, sin limitarse a esquemas o metodologías rígidas.

Los programas de Artes en educación básica buscan que los estudiantes tengan un acercamiento a las artes visuales, la danza, la música y el teatro, a través de la experiencia. Para ello, en secundaria los estudiantes profundizarán en el aprendizaje de una de las artes, y a partir de sus intereses y de un conjunto de ideas detonadoras, se desarrollarán proyectos artísticos individuales o colectivos.

Para su estudio, el área de Artes se organiza en cuatro ejes que hacen posible, desde la didáctica, dosificar los tipos de experiencia que se propone a los estudiantes:

1. Práctica artística
2. Elementos básicos de las artes
3. Apreciación estética y creatividad
4. Artes y entorno

Estos ejes se despliegan en temas que, en su conjunto, suscitan el desarrollo del pensamiento artístico y promueven aprendizajes conceptuales, procedimentales y actitudinales, con el fin de que los estudiantes reconozcan y exploren las particularidades de las artes, sus elementos básicos, sus procesos de producción y su relación con la cultura y la sociedad.

Cada eje se organiza en temas, como se muestra en el siguiente esquema:

Práctica artística

La práctica artística, como cualquier otra actividad profesional, requiere del desarrollo de una serie de habilidades que permitan su mejor ejecución. La importancia del eje radica en mostrar que estas prácticas no solo se relacionan con la técnica que el artista utiliza, sino también con ideas y métodos de trabajo. Al hacer visibles estos procesos, el estudiante comprende y pone a prueba estructuras particulares del quehacer artístico. Partiendo de su experiencia personal y sus conocimientos, experimenta y desarrolla habilidades cognitivas y motrices a partir de la producción de proyectos artísticos basados en la investigación, conceptualización, construcción, presentación, reflexión y realimentación.

Los temas que aborda el eje, considerando los procesos que intervienen en la práctica artística, son: “Proyecto artístico”, “Presentación” y “Reflexión”.

Elementos básicos de las artes

Las artes son manifestaciones humanas que, a partir de las necesidades primigenias de expresión, organizan de manera única e intencional elementos materiales e inmateriales básicos e inherentes a la vida, para mostrar cualitativamente el mundo. Los elementos básicos de las artes son: el sonido, la forma, el color, el movimiento, el cuerpo, el espacio y el tiempo. A su vez, estos se agrupan en tres temas: “Cuerpo-espacio-tiempo”; “Movimiento-sonido” y “Forma-color”. Su exploración se inicia en lo cotidiano y se va complejizando en cada ciclo formativo, de tal manera que el estudiante pueda usarlos para expresarse, elaborar y analizar obras de arte.

Apreciación estética y creatividad

Para consolidar y ejercitar una forma “artística” de pensar es necesario contar con un espacio que permita la activación de procesos metacognitivos, y desarrollar el pensamiento artístico que a su vez se caracteriza por formular ideas con una perspectiva estética que implica la percepción, exploración y codificación del mundo por medio del sistema sensorial (parte del sistema nervioso, encargada de procesar la información que entra al cuerpo humano por medio de los sentidos).

El pensamiento artístico conecta los procesos mentales con las emociones y sentimientos, para favorecer la indagación en sí mismo, en las relaciones con los integrantes del colectivo artístico, en los proyectos artísticos y en las distintas perspectivas estéticas del entorno. Además potencializa la imaginación y la creatividad mediante ejercicios que permiten generar expresiones propias, recrear obras artísticas partiendo de la sensibilidad personal, e imaginar y poner en práctica soluciones a problemáticas de la vida cotidiana. Este eje se divide en dos temas que agrupan elementos constitutivos del pensamiento artístico: “Sensibilidad y percepción estética” e “Imaginación y creatividad”.

Artes y entorno

Este eje pone énfasis en la contextualización de las artes como patrimonio cultural.

Las manifestaciones artísticas posibilitan identificar cómo es o fue una sociedad en un determinado tiempo y espacio —sus intereses, valores y formas de entender el mundo—, lo que permite el desarrollo de actitudes de respeto y valoración del patrimonio y de la diversidad cultural. Este acercamiento a las artes abona argumentos para alejarse de la idea de que el arte es una expresión exclusiva de unos cuantos privilegiados y que se encuentra desvinculado de procesos sociales.

Se abordan dos temas en este eje: “Diversidad artística y cultural”, que permite explorar las diversas formas de articulación del arte con el ámbito cultural y social, y reconocer que las artes generan múltiples formas creativas y cualitativas de entender y expresar el mundo; y “Patrimonio y derechos culturales”, que permite a los estudiantes explorar su patrimonio cultural inmediato y reconocer el acceso a las artes como un derecho que debe ser ejercido y garantizado con base en lo señalado en el artículo 4º de la Constitución Política de los Estados Unidos Mexicanos, y en el artículo 31 de la Convención sobre los Derechos del Niño.

El estudiante durante el curso utiliza su "CUADERNO ELECTRÓNICO DE ACTIVIDADES" que es al mismo tiempo su cuaderno de apuntes, guía de examen y texto de consulta para proyectos.  Éste, está disponible en la red en 

en donde tiene a su alcance los contenidos de clase (textos, imágenes, audios y videos) desde cualquier dispositivo (smartphone, tablet, laptop, computadora de escritorio, pantallas inteligentes, etc.) inclusive sin necesidad de estar conectados a internet (una vez descargados los contenidos).

Dentro de esta aplicación el alumno también realiza actividades que refuerzan el conocimiento adquirido en clase y son evaluadas inmediatamente por lo que se lleva un registro de calificaciones de manera instantánea.

 

 

Essays in philosophy

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