On Feb 26, 3:07 pm, Paul Crowley <
dsfdsfd...@sdfsfsfs.com> wrote:
> On 25/02/2012 16:18, Bob Grumman wrote:
>
> > To go back to where this thread began, an attempt to define of
> > religion, ignored by everyone except Paul, who simply claim that
> > nothing important could be defined
>
> There are many important concepts in science where
> precise definitions are crucial. But neither you nor
> anyone else is in a position to define terms used in
> ordinary language -- except vaguely, and only as a
> rough guide.
>
> > but then went on to use various ridiculous definitions of religion
>
> I call 'Stratfordianism' a quasi-religion.
What's the definition of a "quasi-religion?" How can you define it
without defining "religion?" (My impression is that for you a
"quasi'religion" is simply a belief system that you believe has one or
more attributes sometimes associated with belief systems called
"religion." So it is worthless, since almost every belief system has
attributes sometimes associated with belief systems called religions.)
> > A religion is a system of beliefs which includes ALL of the
> > following:
>
> > (1) a dependence on the undeniable suspension of
> > some law or laws of nature as agreed to by scientists;
>
> What exactly do you think you are trying to do here?
> Are you saying that this is how you use the word?
> Or how you think everyone should use the word?
I am attempting to present a sane definition of "religion" for the use
of intelligent people engaged in a discussion like this one, in which
whether some X = "religion." Like all defintions, it will be ignorned
by imbeciles, and misused by people like you. I hope my definition
will be discussed by others, and its flaws pointed out so that
eventually a definition that a reasonable number of intelligent people
agree to use evolves, like the definition of science I believe most
people at all knowledgeable about what science covers agree on.
I see that you refuse to point out the flaws in my definition, simply
deleting most of it.
> >>>> Given the chaotic state of both modern poetry
> >>>> and the 'discipline' of psychology, it would
> >>>> be a contradiction in terms to expect anyone
> >>>> to follow some 'authorised opinions'. Are there
> >>>> any?
>
> >>> Of course there are.
>
> >> Who?
>
> > The authorized opinions in contemporary American
> > poetry are complicated to untangle but include the
> > notions that poetry must be all words, that haiku are
> > trivial, that no poems should make use of a poetic
> > technique not widely used fifty or more years ago.
>
> I'm sure that many (everyone else?) in the field
> would disagree with you on what constitutes
> 'authorised opinions'.
So what? Obviously mediocrities will not want to accept that all
their opinions are "authorized." But none will be able to show that
any of the individuals and institutions I name as authoritative say or
do anything to contradict that they believe "the notions that poetry
must be all words, that haiku are trivial, that no poems should make
use of a poetic technique not widely used fifty or more years ago."
Can you? But there are certainly many who believe, with me, that
there is an established sort of poetry that those in what is called
the mainstream follow the same way you say Stratfordians follow what
you consider the authorzed opinions in their field.
> > In psychology there seem to be more
> > authorized opinions, but they are ALL those of
> > professors, hence opposed to my theory.
>
> Psychology gave up all pretence of having
> ANY theories around 50 years ago. The
> Psychology professors realised that having
> arguments was not good for their image, and
> that they were on to a good thing, in that the
> great bulk of society thought that there was
> a real subject, and that the professors had
> real expertise, and it paid them well for
> expressing their opinions on various matters
> (e.g. whether little Johnny needed one-to-
> one tuition or whether Fred was fit to stand
> trial). So they dropped ALL theory . . and
> now we have a 'science' quite devoid of any
> theory. It's pure nonsense, of course, but
> that suits almost everyone.
Ah, but I definitely believe in having a theory of psychology and have
made what I doubt any could claim is not a theory, however flawed. So
that puts me opposed to what you believe is the authorities' view that
there can be no theories of psychology.
> >>> But if there were not, then I--requiring the view of
> >>> authorities to follow, according to you--would be
> >>> unable to have an outlook in either field.
>
> >> Does not follow. In such fields, the possession
> >> of kooky theories is close to 'de rigeur' -- for those
> >> who believe that the 'disciplines' (in their modern
> >> form) have some value or validity.
You've just said no one is supposed to have theories. So if I don't
have a kooky, theory I am a sheep; if I do, I'm again only doing what
is "de riguer." How, then can anyone not be a sheep in the field of
psychology?
> > You are a genius for making your views unfalsifiable.
> > You're saying that I if I act like a sheep, I'm a sheep
> > because a sheep acts like a sheep; if I don't act like a
> > sheep, then I'm a sheep because a sheep makes sure
> > not to act like a sheep for the sake of prestige. How,
> > pray tell, does one indicate that one is not a follower of
> > authorized opinions if one authorized opinion is that
> > one should not follow authorized opinions?
>
> Sorry, but that's life. If you enter a tower of Babel
> you cannot expect to understand anyone or have
> anyone understand you. You become even less
> than a sheep. They get themselves organised
> into flocks. You (and the rest of the pseudos
> who pretend to have ideas in psychology) can't
> even manage that.
What is a non-sheep? You can't say. You can only say that those who
find you insane are sheep.
> >>>> Individual acts of heroism involving spear-
> >>>> shaking are not reasonably likely. Can you
> >>>> quote ONE heroic act (real or fictional)
> >>>> involving spear-shaking described or depicted
> >>>> in any account? Or ONE heroic act (real or
> >>>> fictional) involving rifle-waving from the last
> >>>> 200 years and all the Hollywood war films
> >>>> you've seen?
> >> That never happens. If it did, you'd find roughly
> >> parallel accounts in Beowulf or Captain Marvel,
> >> or Batman or Superman or Rambo or Henry V
> >> or Pirates of the Caribbean or Hornblower or
> >> Homer or Virgil or the Bible or . . . . any of the
> >> near-infinite number of tales of dering-do.
>
> > Read up on Audie Murphy, you idiot.
>
> Was Audie Murphy famous for rifle-waving?
He was a hero. It therefore follows that some spearman was once a
hero. I seem to recall someone named Odysseus using a spear valiantly
and effectively, by the way. Ah, but he never shook it, that we know
of!
> Could he have reasonably been named
> Audie Rifle-Waver (including the hyphen) . .?
You win: you're too obutse to be defeated in any argument.
> >>> Unless you can find an example of a great writer with
> >>> an illiterate front.
>
> >> Confusing the general with the particular again.
>
> > Please identify the particular and the general here.
>
> You claim that there is a GENERAL rule:
> Spear-shaking (and presumably rifle-waving)
> can be heroic activities for which people can
> get reputations, and sometimes get their
> surnames. Yet, strangely, you can give no
> instance of this general rule -- not ONE.
I give the one particular: an ancestor of the Shakespeares in England
who came to be identified as a spear-shaker because, perhaps, of an
exploit in a battle using a spear--and at some point shaking it. You
say that no general rule exists to validate this (i.e., nowhere can it
be shown that a warrior came to be identified as a spear-shaker
because of some battlefield exploit, so the ancestor I propose could
not have existed. You, in parallel with me, give the one
particluar: a great writer with an illiterate front, but I, in
parallel with you, say that no general rule exists to validate this
(i.e., nowhere can it be shown that a great writer had an illiterate
front), so the great writer you propose could not have existed.
> The particular is that there is a Bob Grumman
> who lives in Florida, and has an interest in
> Shake-speare and poetry, and we should not
> deny that fact merely because we cannot find
> a whole genre of Bob Grummans who live in
> Florida and have an interest in Shake-speare
> and poetry.
This would be another particular like mine that we should not deny an
ancestor of Shakespeare's who was a hero because we have no record of
one, and like yours that we should not deny the existence of a great
writer with an illiterate front because we can find no record of one.
Actually, of course, we accept the Bob Grumman described because there
are hundreds of people like him, and reject the Oxford you believe
because there is NO ONE like him nor does the description of him (as
having an illiterate front) seem sane. As for the ancestor of
Shakespeare, I would say he's like the Bob Grumman since there have
been hundreds like him who got names the way I and Camden--and others,
I'm sure (but it's not worth taking the time to verify).
> > You say I can't find an example of a heroic spear-
> > shaker except my proposed one, therefore your
> > proposed one can't have existed; I say you can't find a
> > great writer who had an illiterate front except your
> > proposed one, therefore your proposed one can't have
> > existed. There's no general/particular there, only
> > idiotic illogic on your part.
>
> [..]
Good refutation.
> > Tell me how it is essential to know anything about
> > Keats's biography to gain more than a 99%
> > appreciation of his works? Tell me what you need to
> > know about Coleridge's personality to understand The
> > Ancient Mariner?" What autobiographical elements
> > are necessary for an appreciation of the works of
> > Lewis Carroll, or Hans Christian Anderson? How about
> > Oscar Wilde's?
>
> I merely have to point out the nonsensical state
> in which you finish up when you deny the
> relevance of authorship.
Actually, if you wanted to be a responsible aprticipant in this
discussion, you would answer my questions. You would, for example,
tell me exactly what I needed to know about Keats's life to appreciate
his works--as you have told us what we need to know about Oxford's to
appreciate his works.
> Does a student who
> believes that Keats wrote the "Ballad of Reading
> Gaol" and that Lewis Carroll wrote 'Ode to a
> Nightingale' and that Hans Christian Anderson
> wrote 'The Rime of the Ancient Mariner' . . . .
> know anything about the works or the poets?
Probably not. but he certainly could! Tell me what someone told Lewis
Carroll wrote an ode by Keats would read the ode. If he didn't know
who Carroll was, what difference would it make? What would he miss
because he had the author's name wrong? If he did know who Carroll
was, why would it be meaningful--except that he might be awed by the
range of the poet?
> Will he have a sound appreciation of the literary
> value of such works?
That depends on how intelligently he was able to read them. What I'm
saying is that he does not have to have any knowledge of who wrote
them. I think most of the books I've read, I've appreciated about as
much as I was capable of appreciating them without knowing anything
about their author. I thing biographies of authors can increase
appreciation of their works, but not very much, and certainly will in
extremely few cases make the difference between understanding and lack
thereof.
You're so idiotic on this, it's hard to do more in response than
fume. When I was young, I read a great number of Hardy Boys books,
and loved them. They were all written by "Franklin Dixon." (He may
have had a middle initial, I can't remember. Later I read that all
the stories were sketched by a publisher whose name I don't recall,
and that the first one or two dozen were written using the sketches by
a Canadian whose biography I eventually read. It was fun to know the
truth, but made no difference in my appreciation of the stories,
several of which I have read as an adult. I consider them classics,
the ones written by the first of their actual authors. Yes, you will
sneer. The Hardy Boys are not . . . Shakespeare. True, although they
have virtues Shakespeare's works lack. It doesn't matter. The rule
is clear: it's what's in works that counts, not what's in the lives of
their authors. And people with an ability to enjoy literature will
not need journalistic connections between what's in literary works and
important people's lives to enjoy them vastly further than you've
shown any signs of enjoying them.
I also thought Walt Disney wrote stories in comic books I later
learned Carl Banks had--works of genius, in my opinion. Interesting
to find out but it didn't change my view of the stories. I don't
think anything comparable happened reagrding the "superior" works I
read, but that's because none were written by anyone whose correct
name I didn't know--so far as I recall. I just can't imagine suddenly
changing my opinion of the works of Cummings, which I admire, if I
found out Eleanor Roosevelt (not a heroine of mine) wrote them, say.
> Or let's say he declares
> (as you do) that no such ascriptions matter.
So far as his appreciation of them is concerned. Such ascriptions
matter greatly for literary history, the study of the creative
process, and much else.
> Would you give him a pass in any examination
> you marked? Would you say "Well done, son . .
> you should go to Harvard . . "
If he wrote about what he'd read intelligently, I would say, "Well
done, son. Skip Harvard--you're too bright to waste time there." I
certainly wouldn't require him to tell me anything about the author's
background. It might help the color of his text, which--in small does
might be good, but I would mainly grade him on what he says about
what's in the text or texts he writing about. If he's writing about a
creative writer. If he's writing about a journalist, it would be
different. Of course, there would be exceptions--if he were writing
about a drug addict, it might be helpful for him to state that fact
and show how it influenced the writer--what it did to his style, for
instance. Still, theimportant thing is what a creative writer says,
not what he is.
Simple example:
the old fisherman
unalterably intent . . .
autumn nightfall.
A haiku by the Japanese master, Buson (1716 -- 1783). In my book,
From Haiku to Lyriku, I write a paragraph in appreciation of this--
without knowing much about Buson, and without having to know ANYTHING
about him. Tell me what you need to know about him to appreciate it.
(I know: nothing, because it's a trivial poem. But when I read what
I'd written about it just now, I thought of how much more I could have
written in appreciation of it.)
--Bob