3/29/2023 0 Comments Red herring logical fallacyThere is no actual species of fish known as a “red herring” but the phrase is used to refer to a hazily smoked kipper that has a strong smell and flesh that turns red.Įxamples of Red Herrings Example #1 The Final Problem by Arthur Conan Doyle The phrase appeared in an article he wrote for the Political Register. The term was made popular in February of 1807 after William Cobbett told a story that depicted dogs distracted by the smelly fish. But, more recently it has been determined that the practice was actually in relation to training horses by dragging a dead a cat or fox. They would follow the scent and learn through practice what they then put into use during an actual hunt. Originally it was thought that the phrase came from the very real practice of using a red herring, a kind of dried red fish, in order to train hunting dogs. The origins of the phrase “red herring” are slightly complex. A reader who engages too fulsomely with the distraction might be led to false conclusions about what a passage means or what is coming next in the story. The “red herring” in a story is an intentional distraction. When writers use red herrings a reader’s attention moves from the main characters/central drama to something peripheral and in the end meaningless. This technique is used most prevalently in literature where writers employ it as a dramatic device to increase the suspense and complexity of a work. The works of these philosophers form the basis for philosophical debate.This is done in order to purposely divert the reader’s attention from the main subject or real issue of a passage, poem, or book. Encountering such passages can be problematic for women who are involved in the attempt to develop a distinctively feminist approach to philosophy. According to Aristotle and Aquinas, a woman is a ‘misbegotten male’. They are ‘big children their whole life long’ (Schopenhauer). Women are described as ‘the devil’s gateway’ (Tertullian). the puzzling question of the nature of ‘woman’.1 Who is woman? What does ‘she’ want? Almost uniformly, such passages offer answers to this ‘question’ which describe women in deeply unflattering terms. Margaret Whitford writes of the surprise she felt when she realized the extent to which misogyny determines the thoughts of the ‘great’ philosophers of the western tradition when they turn their attention to. When surveying the development of philosophical ideas, it should be noted that a significant part of what passes fir the canon of western philosophy goes unnoticed or is consigned to silence. The following research presents comic art as a spatial deviation from the traditional mediums of storytelling to a more easily accessible yet sophisticated body of work by decoding and analyzing the structure of the unique language of sequential visual art portrayed in Albert Uderzo and René Goscinny's Asterix and Cleopatra (1982). Arthur Danto in his book The Transfiguration of Common Place (1981) expresses how paintings have the potential to go beyond the contemplation of merely the aesthetic qualities to an externalization of an artist's consciousness. The marginalization of comics in both branches of literature and art allows diverse thematic expressions otherwise difficult to represent through traditional tools of expressions. The distribution of symbols and patterns in the practice of comic art systematically results in a novel language that is flexible enough to hold diverse themes relatable across age groups. The structure of sequential visual art allows written text and visual images to converge at a common space devoid of polarizations.
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