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that Socrates leads a worldlier, more flourishing and fulfilling life as the result of being motivated by the higher qualities that in turn benefits welfare maximization overall. Despite the fact that Socrates may be very dissatisfied with his own life due to the circumstances of it, his concept of
their fathers’ work had affected adversely their social and economic lives, and the education of their immediate families, since both fathers had had work (in the Navy and in the licensed public house trade), that had meant the families were highly mobile, living in a sequence of various tied houses
. Amanda was described as someone for whom high achievement came easily, but also a hard worker, who was intrinsically motivated. Life experiences were seen as motivational factors, suggesting some environmental shaping of ability. This fitted with the family’s coherence system of possibility, moving
word, the particularity of the daimon: The daimon motivates. It protects. It invents and persists with stubborn fidelity…. It is out of step with time, finding all sorts of faults, gaps, and knots in the flow of life—and it prefers them. It has affinities with myth, since it is itself a mythical
working with art or when living life, it is rare and odd not to engage in philosophical thoughts and discussions about what one is doing and its significance in the whole of things. People learning about art want to know why some things are honored as art and others are not. Their biggest questions are
the language CHAPTER 7 76 used by poets, musicians and painters for example, who will often arrange their work so that it expresses the quality and imagination of a humanising experience. The art of poetry, for instance, uses particular words to communicate individual experiences of life as
interpreting whether we have any living histories or desires whose ‘chance’ meeting might unknowingly and even unintentionally provoke a dangerous confrontation in the space where we have crossed paths. For the histories or imagined futures that link nations, classes, genders, races and generations - and
informs a particular view of the world, and conversely how a particular view of the world informs a dance tradition” (Sweet, 2005, p. 136). Telling of a dancer’s life story, as well as their opinions on the dances and on their own dancing, are held as equally important as analysis of the movement and
creativity as a central motivating factor in education is also found to have a parallel life in global economics. In 2002–2004, a £40 million UK government initiative provided opportunities to participate in the arts for youth in deprived and culturally under-resourced regions, aiming to develop life
values offered by graphic media and the “free spirit” who is “challenged by the complexities of reality and ready to cope with them for a life time” (p. 37). In this chapter1, I discuss how media models influence the development of the young comic artist. Comic imagery is a recurrent theme in the