Orson Welles Use of Long Shots - 832 Words

Orson Welles, Hollywood’s boy genius, brought his innovative approach which has, as Andre Bazin states in Orson Welles: A Critical View: â€Å"shaken the edifices of cinematic traditions†. One of the formal characteristics that he is most well known for is the use of long takes. Although the use of long takes was already established in film, as many of the first films had no edits, Welles incorporated long takes effectively in his films to overload scenes with activity adding more dramatic tension. The films that his formal characteristic stands out the strongest are two of his more popular films Citizen Kane and Touch of Evil. Orson Welles’ theatrical background and his love for painting are probably the greatest contributions to his†¦show more content†¦The car later explodes off screen giving the audience dramatic relief while at the same time robbing them of a visual explosion. Orson Welles’ use of long shot allows him to pack the screen with action and give the audience the illusion of freedom to follow what they want in a scene making the audience being more invested because they believe they found out the conflict on their own. Through this illusion he is able to add more dramatic tension and dramatic irony to his work making it rich in content and catharsis as he did in Citizen Kane and Touch of Evil. Works Cited Bazin, Andrà ©. Orson Welles: A Critical View. New York: Harper Row, 1978. Print. Citizen Kane. Dir. Orson Welles. Perf. Orson Welles, Joseph Cotten, Dorothy Comingore. Released by RKO Radio Pictures, 1941. Riedlinger, Michael C. Orson Welles - Painter. Senses of Cinema. 30 Dec. 2009. Web. 24 Apr. 2012. . Rosenbaum, Jonathan. Discovering Orson Welles. Berkeley: University of California, 2007. Print. Touch of Evil. Dir. Orson Welles. Perf. Orson Welles. Universal Pictures Co.,Show MoreRelated Orson Welles in Citizen Kane Essay542 Words   |  3 PagesOrson Welles in Citizen Kane Orson Welles produced, directed and starred in Citizen Kane, the classic masterpiece which communicates its original narrative through ground-breaking cinematography, lighting, music, setting, sound and performances. The film has underlying symbols in every single shot, and uses innumerable cinematic devices to convey meaning. One of the many implications Citizen Kane makes is strongly embodied in the sequence of Kane and his wife SusanRead MoreOrson And Citizen Kane, Touch Of Evil, And Othello, Make Him A Great Auteur? Essay2317 Words   |  10 Pages201300566 History of film paper: Topic: Orson welles Question: How do the formalistic and ideological patterns found in Orson Welles’s movies; Citizen Kane, Touch of Evil, and Othello, make him a great auteur? Outline: †¢ 1. Orson Welles (Biography and 3 films) †¢ 2. Formalistic patterns: âž ¢ Mise en Scene in each film âž ¢ Editing in each film †¢ 3. Ideological patterns (in each film) †¢ 4. Orson Welles as an Auteur 1. Orson Welles: Biography: Orson Welles was born on the 6th of May in 1915 andRead MoreHistorical Analysis of the Movie, Citizen Kane Essay1699 Words   |  7 PagesMovement Citizen Kane, directed by Orson Welles, was an exemplary and ground-breaking work. In narrative structure and film style, Welles challenged classical Hollywood conventions and opened a path for experimentation in the later 1940s. Gregg Toland’s deep-focus cinematography and Welles’ use of low-key lighting are often discussed aspects of the movie. True, these were areas of innovation, but when watching the movie in class I was particularly struck by the use of camera movement, or â€Å"mobile framing†Read More Hello, My Name Is Orson Welles Essay1578 Words   |  7 Pages Hello, My Name Is Orson Welles nbsp;nbsp;nbsp;nbsp;nbsp;Orson Welles liked to reuse certain elements throughout his films. He liked a good deep focus shot. He liked low key lighting. He liked the grotesque side of life, blocking actors in groups of three, low camera angles and especially pointy bras. He also liked to open his movies in a certain predictable way. In Citizen Kane, he used the announcer in quot;News on the Marchquot; to introduce the subject and main character, Charles FosterRead MoreOrson Welles s Citizen Kane994 Words   |  4 PagesOrson Welles’s Citizen Kane (1941) is known as one of the most innovative and highly rated films of all time. Welles and his cinematographer, Gregg Toland, were among the first filmmakers to use deep-focus photography for significant portions of the film rather than using the more classic medium and close up shots. Welles and Toland also used unconventional filming methods, such as â€Å"high contrast, unusual camera angles, and the use of shafts of light† (Cagle, Dombrowski and Ramaeker), which createdRead MoreOrson s Citizen Kane : The Blackmail Scene1270 Words   |  6 PagesRebecca McKenney Introduction to Cinema Mr. Leigh 30 October 2017 Orson Well’s Citizen Kane: The Blackmail Scene â€Å"â€Å"There’s only one person in the world to decide what I’m going to do – and that’s me.†Ã¢â‚¬  – Charles Foster Kane from Citizen Kane Script by Herman J. Mankiewicz and Orson Welles. Orson Welles’ 1941 classic, Citizen Kane, tells the story of a man named Charles Foster Kane. The turning point of the film is where Jim Gettys attempts to blackmail Kane. The scene demonstratesRead MoreAnalysis Of Orson Welles And Herman Mankiewicz925 Words   |  4 PagesHowever, the making of its fame was rather rough. Orson Welles and Herman Mankiewicz were the screenwriters for this movie, Welles was the leading director; therefore, he had the final saying in the contributions to the movie. Both writers worked separately when developing the story, only having the main character defined: Charles Foster Kane -it is pertinent to say that I think Foster is supposed to be ironic considering his morose childhood-. Welles had a rough childhood, which is portrayed in theRead MoreCitizen Kane Analysis2693 Words   |  11 Pages Orson Welles Citizen Kane Success the first time around is very uncommon. Orson Welless first feature film richly realizes the full potential of excellent craftsmanship. Citizen Kane is almost indisputably the greatest achievement in the history of filming. In 1941, this film was considered by many as the best film ever made. This film is about the enormous conflict between two twentieth-century icons, publisher William Randolph Hearst and the prodigy of his time, Orson Welles. The ratherRead MoreEssay about Orson Welles The Magnificent Ambersons2346 Words   |  10 Pagesexchanging ideas and information, and it is no more at its best in light entertainment than literature is at its best in the light novel.† - Orson Welles Orson Welles was passionate about film. By the young age of 25, he had directed, produced, and starred in what is today considered by most to be the greatest movie ever made, Citizen Kane. About a year later, Welles began work on his next film project, The Magnificent Ambersons. Based on the novel of the same name by Booth Tarkington, The MagnificentRead MoreThe Film Citizen Kane : A Film Of All Time, And Director Orson Welles1425 Words   |  6 Pagescalled the 1941 film Citizen Kane one of the best movies of all time, and director Orson Welles’s direction is largely to thank for the work’s accolades. Citizen Kane is famous for its use of long shots, deep staging, deep focus, and, as will be considered in this paper, its lighting practices. Welles strategically lights his characters in order to develop them throughout the film; this paper will focus on three shots that show Jerry Thompson (William Alland) develop from functioning as a narrative

The Goals And Motivating And Leading Employees - 1089 Words

English novelist, Thomas Hardy, said, â€Å"Good business leaders create a vision, articulate the vision, passionately own the vision, and relentlessly drive it to completion† (quotesgram.com). The organization I currently work for has placed a career path ahead of me filled with great personal and professional opportunity, however it will be a new road for me with a steep learning curve. The article, Social Organizations by Robert Prodanciuc highlights bureaucracy and organizational development, leadership, and employee development as they hey areas I have also come to recognize as the challenges I will face while achieving organizational goals and motivating and leading employees. Presently I am the HR Generalist and Payroll Manager for my†¦show more content†¦Prodanciuc highlights the importance of bureaucracy to the planning and rationality of activities and organizational structure (2012, p. 208), while also pointing out the risks of such structures by reducing decision making and resulting in rule breaking and replacement of organizational goals with personal ones. On my current career path I have encountered the issue of delayed decision making as a result of an overly bureaucratic process. As the OD Manager, it will be my role to keep the leadership team on task and ensure that decisions are made and issues are discussed, thereby not delaying the goals or unintentionally impacting the direction of the organization. Furthermore, Prodanciuc defines the bureaucracy of the organization as the labor, rules and regulations, documents, administrative aspects of HR, which would also fall under my scope. If these processes are not working effectively or efficiently it could be impacting the goals or wellbeing of the organization and it would fall to me to analyze the process and make changes as needed. Effective leadership is necessary to keep the bureaucratic process of theShow MoreRelatedLeadership And Management Vs. Christian Worldview833 Words   |  4 Pagesable to open their hearts to their employees and help them find what they are missing in their lives. This paper will cover what leadership and management are and the difference and similarities between them and how they correlate to the Christian worldview. Leadership Leadership is about being proactive and having the initiative to implement strategies, being able to manage change, building relationships with employees and being able to influence employees in a way that meets the organization’sRead MoreImportance of Motivation in the Workplace1640 Words   |  7 Pageson the job behaviors of the employees. Introduction The precise reason why the contemporary organizations are relying heavily on the motivated workforce is the fact that unless the organizations are completely aware of the motivational chemistry of the workforce there will experience a poor administration and perhaps the performance management system of the organization will be a complete or partial failure (Kumar 2011). It is due to the motivation of the employees that the distance between theRead MoreThe Origin Of Old Town White Coffee1565 Words   |  7 Pagesâ€Å"OLDTOWN† brand name. In 2005, the company decided to expand vertically into the food services industry about encapsulating the traditional Ipoh coffee shop. â€Æ' Old Town Kopitiam’s Vision Statement Their vision statement is to be Asia Pacific’s leading white coffee brand, providing high quality products and Unique Malaysian Taste to customers worldwide. Old Town Kopitiam’s Mission Statement People: We believe that our people are our assets. We appreciate our people as those who grow with us andRead MoreAnalyzing The Article Of Prodancius ( 2012 ) On How One Sees His Career Path Supporting An Organization Essay759 Words   |  4 Pagesan organization while motivating and leading employees to be a high performance team, it appears that the author chose seven scholars (authors) to present their thoughts on the importance of studying an organization. Therefore, getting a deep knowledge of what an organization should be, through its definition, its structure composed by effective communication, effective coordination, speed and responsiveness and empowerment of the employees, as well as its functions, its goals, and its environmentRead MoreExtrinsic Motivation And Intrinsic Motivation917 Words   |  4 Pagesvariety, task identity, as well as a high level of task significance. The five employees working at our charitable agency have the ability to affect the lives of many families, and even the ability to change people’s lives and get them the help that they need. Our agency has the ability to affect the lives of other people in a positive way, which leads to intrinsic motivation. Intrinsic motivation occurs when the employees have positive internal feelings that are generated by doing well, rather thanRead MoreThe 4 Functions Of Managements At J. Crews875 Words   |  4 PagesPlanning: This management performance of Janna Lyons are about â€Å"setting organizational goals† and â€Å"developing strategies to reach those goals† (Nickels, 2016, p. 187). In terms of establishing the company’s goals, Jenna Lyons redirect the goals of J. Crew to be making â€Å"J.Crew fashionable again† and creating â€Å"a coherent brand that would drive the business forward† (Nickels, 2016, p. 211). 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Lamb to the Slaughter Free Essays

string(102) " violence of the crash, the noise, the small table overturning, helped to bring her out of the shock\." LAMB TO THE SLAUGHTER by ROALD DAHL The room was warm, the curtains were closed, the two table lamps were lit. On the cupboard behind her there were two glasses and some drinks. Mary Maloney was waiting for her husband to come home from work. We will write a custom essay sample on Lamb to the Slaughter or any similar topic only for you Order Now Now and again she glanced at the clock, but without anxiety: She merely wanted to satisfy herself that each minute that went by made it nearer the time when he would come home. As she bent over her sewing, she was curiously peaceful. This was her sixth month expecting a child. Her mouth and her eyes, with their new calm look, seemed larger and darker than before. When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the car tires on the stones outside, the car door closing, footsteps passing the window, the key turning in the lock. She stood up and went forward to kiss him as he entered. â€Å"Hello, darling,† she said. â€Å"Hello,† he answered. She took his coat and hung it up. Then she made the drinks, a strong one for him and a weak one for herself; and soon she was back again in her chair with the sewing, and he was in the other chair, holding the tall glass, rolling it gently so that the ice knocked musically against the side of the glass. For her, this was always a wonderful time of day. She knew he didn’t want to speak much until the first drink was finished, and she was satisfied to sit quietly, enjoying his company after the long hours alone in the house. She loved the warmth that came out of him when they were alone together. She loved the shape of his mouth, and she especially liked the way he didn’t complain about being tired. â€Å"Tired, darling? † â€Å"Yes,† he sighed. â€Å"I’m thoroughly exhausted. And as he spoke, he did an unusual thing. He lifted his glass and drank it down in one swallow although there was still half of it left. He got up and went slowly to get himself another drink. â€Å"I’ll get it! † she cried, jumping up. â€Å"Sit down,† he said. When he came back, she noticed that the new drink was a very strong one. She watched him as he began to drink. â€Å"I think it’s a shame,† she said, â€Å"that when someone’s been a policeman as long as you have, he still has to walk around all day long. † He didn’t answer. â€Å"Darling,† she said,† If you’re too tired to eat out tonight, as we had planned, I can fix you something. There’s plenty of meat and stuff in the freezer. † Her eyes waited to an answer, a smile, a nod, but he made no sign. Anyway,† she went on. â€Å"I’ll get you some bread and cheese. † â€Å"I don’t want it,† he said. She moved uneasily in her chair. â€Å"But you have to have supper. I can easily fix you something. I’d like to do it. We can have lamb. Anything you want. Everything’s in the freezer. † â€Å"Forget it,† he said. â€Å"But, darling, you have to eat! I’ll do it anyway, and then you can have it or not, as you like. † She stood up and put placed her sewing on the table by the lamp. â€Å"Sit down,† he said. â€Å"Just for a minute, sit down. † It wasn’t until then that she began to get frightened. â€Å"Go on,† he said. â€Å"Sit down. She lowered herself into the chair, watching him all the time with large, puzzled eyes. He had finished his second drink and was staring into the glass. â€Å"Listen,† he said. â€Å"I’ve got something to tell you. † â€Å"What is it, darling? What’s the matter? † He became absolutely motionless, and he kept his head down. â€Å"This is going to be a big shock to you, I’m afraid,† he said. â€Å"But I’ve thought about it a good deal and I’ve decided that the only thing to do is to tell you immediately. † And he told her. It didn’t take long, four or five minutes at most, and she sat still through it all, watching him with puzzled horror. So there it is,† he added. â€Å"And I know it’s a tough time to be telling you this, but there simply wasn’t any other way. Of course, I’ll give you money and see that you’re taken care of. But there really shouldn’t be any problem. I hope not, in any case. It wouldn’t be very good for my job. † Her first instinct was not to believe any of it. She thought that perhaps she’d imagined the whole thing. Perhaps, if she acted as though she had not heard him, she would find out that none of it had ever happened. â€Å"I’ll fix some supper,† she whispered. When she walked across the room, she couldn’t feel her feet touching the floor. She couldn’t feel anything except a slight sickness. She did everything without thinking. She went downstairs to the freezer and took hold of the first object she found. She lifted it out, and looked at it. It was wrapped in paper, so she took off the paper and looked at again — a leg of lamb. All right, then, they would have lamb for supper. She carried it upstairs, held the thin end with both her hands. She went into the living room, saw him standing by the window with his back to her, and stopped. I’ve already told you,† he said. â€Å"Don’t make supper for me. I’m going out. † At that point, Mary Maloney simply walked up behind him and without any pause, she swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head. She might as well have hit him with a steel bar. She stepped back, waiting, a nd the strange thing was that he remained standing there for at least four or five seconds. Then he crashed onto the carpet. The violence of the crash, the noise, the small table overturning, helped to bring her out of the shock. You read "Lamb to the Slaughter" in category "Papers" She came out slowly, feeling cold and surprised, and she stood for a few minutes, looking at the body, still holding the piece of meat tightly with both hands. All right, she told herself. So I’ve killed him. It was extraordinary, now, how clear her mind became all of a sudden. She began thinking very fast. As the wife of a detective, she knew what the punishment would be. It made no difference to her. In fact, it would be a relief. On the other hand, what about the baby? What were the laws about murderers with unborn children? Did they kill them both — mother and child? Did they wait until the baby was born? What did they do? Mary Maloney didn’t know and she wasn’t prepared to take a chance. She carried the meat into the kitchen, put it into a pan, turned on the oven, and put the pan inside. Then she washed her hands, ran upstairs, sat down in front of the mirror, fixed her makeup, and tried to smile. The smile was rather peculiar. She tried again. â€Å"Hello, Sam† she said brightly, aloud. The voice sounded peculiar, too. â€Å"I want some potatoes, Sam. Yes, and perhaps a can of bean. s. † That was better. Both the smile and the voice sounded better now. She practiced them several times more. Then she ran downstairs, took her coat, and went out the back door, through the garden into the street. It wasn’t six o’clock yet and the lights were still on in the neighborhood grocery. â€Å"Hello, Sam,† she said brightly, smiling at the man in the shop. â€Å"Good evening, Mrs. Maloney. How are you? † â€Å"I want some potatoes, please, Sam. Yes, and perhaps a can of beans, too. Patrick’s decided he’s tired and he doesn’t want to eat out tonight,† she told him. â€Å"We usually go out on Thursdays, you know, and now I don’t have any vegetables in the house. † â€Å"Then how about some meat, Mrs. Maloney? † asked the grocer. No, I’ve got meat, thanks, I’ve got a nice leg of lamb, from the freezer. † â€Å"Do you want these potatoes, Mrs. Maloney? â€Å"Oh, yes, they’ll be fine. Two pounds, please. † â€Å"Anything else? † The grocer turned his head to one side, lo oking at her. â€Å"How about dessert? What are you going to give him for dessert? How about a nice piece of cake? I know he likes cake. † â€Å"Perfect,† she said. â€Å"He loves it. † And when she had bought and paid for everything, she gave her brightest smile and said, â€Å"Thank you, Sam. Good night. † And now, she told herself as she hurried back home, she was returning to her husband and he was waiting for his supper. She had to cook it well and make it taste as good as possible, because the poor man was tired; and if she found anything unusual or terrible when she got home, then it would be a shock and she would have to react with grief and horror. Of course, she was not expecting to find anything unusual at home. She was just going home with the vegetables on Thursday evening to cook dinner for husband. That’s the way, she told herself. Do everything normally. Keep things absolutely natural and there’ll be no need for acting at all. As she entered the kitchen by the back door, she was quietly singing to herself. Patrick! † she called. â€Å"How are you, darling? † She put the package on the table and went into the living room; and when she saw him lying there on the floor, it really was a shock. All the old love for him came back to her, and she ran over to him, knelt down beside him, and began to cry hard. It was easy. No acting was necessary. A few minutes later, she got up and went to the phone. She knew the number of the police station, and when the man at the other end answered, she cried to him. â€Å"Quick! Come quickly! Patrick’s dead. † â€Å"Who’s speaking? † â€Å"Mrs. Maloney. Mrs. Patrick Maloney. â€Å"Do you mean that Patrick’s dead? † â€Å"I think so, † she cried. â€Å"He’s lying on the floor and I think he’s dead. † â€Å"We’ll be there immediately,† the man said. The car came very quickly, and when she opened the front door, two policemen walked in. She knew them both. She knew nearly all the men at the police station. She fell into Jack Noonan’s arms, crying uncontrollably. He put her gently into a chair. â€Å"Is he dead? † she cried. â€Å"I’m afraid he is. What happened? † In a few words she told her story about going to the grocer and coming back, when she found him on the floor. While she was crying and talking, Noonan found some dried blood on the dead man’s head. He hurried to the phone. Some other men began to arrive — a doctor, two detectives, a police photographer, and a man who knew about fingerprints. The detectives kept asking her a lot of questions. They always treated her kindly. She told them how she’d put the meat into the overn — â€Å"it’s there now†Ã¢â‚¬â€œand how she had gone to the grocer’s for vegetables and how she came back to find him lying on the floor. The two detectives were exceptionally nice to her. They searched the house. Sometimes Jack Noonan spoke to her gently. He told her that her husband had been killed by a blow to the back of the head. They were looking for the weapon. The murderer might have taken it with him, but he might have thrown it away or hidden it. — â€Å"It’s the old story,† he said. â€Å"Get the weapon, and you’ve got the murderer. † Later, one of the detectives sat down beside her. Did she know, he asked, of anything in the house that could have been used as a weapon? Would she look around to see if anything was missing. The search went on. It began to get late — it was nearly nine o’clock. The men searching the rooms were getting tired. â€Å"Jack,† she said, â€Å"Would you like a drink? You must be extremely tired. † â€Å"Well,† he answered. â€Å"It’s not allowed by police rules, but since you’re a friend. † They stood around with drinks in their hands. The detectives were uncomfortable with her and they tried to say cheering things to her. Jack Noonan walked into the kitchen, came out quickly, and said, â€Å"Look, Mrs. Maloney. Did you know that your oven is still on, and the meat is still inside? † â€Å"Oh,† she said. â€Å"So it is! I’d better turn it off. † She returned with tearful eyes. â€Å"Would you do me a favor? Here you all are, all good friends of Patrick’s, and you’re helping to catch the man who killed him. You must be very hungry by now because it’s long past your supper time, and I know that Patrick would never forgive me if I let you stay in the house without offering you anything to eat. Why don’t you eat up the lamb in the oven? † â€Å"I wouldn’t dream of it,† Noonan said. â€Å"Please,† she begged. â€Å"Personally, I couldn’t eat a thing, but it’d be a favor to me if you ate it up. Then you can go on with your work. † The detectives hesitated, but they were hungry, and in the end, they went into the kitchen and helped themselves to supper. The woman stayed where she was and listened to them through the open door. She could hear them speaking among themselves, and their voices were thick because their mouths were full of meat. â€Å"Have some more, Charlie. † â€Å"No, we’d better not finish it. † â€Å"She wants us to finish it. She said we ought to eat it up. † â€Å"That’s a big bar the murderer must have used to hit poor Patrick. The doctor says the back of his head was broken to pieces. â€Å"That’s why the weapon should be easy to find. † â€Å"Exactly what I say. † â€Å"Whoever did it, he can’t carry a weapon that big around with him. â€Å" How to cite Lamb to the Slaughter, Papers Lamb to the Slaughter Free Essays In the short story, Lamb to the Slaughter by Roald Dahl uses the literary devices of dramatic irony, foreshadowing, and imagery to depict a dark comedy by grasping the idea of a tragedy becoming humorous. There are multiple uses and examples of irony throughout this short story that relate to the idea of a dark comedy. One key quote of dramatic irony comes from the end of the book stating, Personally, I think its right here on the premises. We will write a custom essay sample on Lamb to the Slaughter or any similar topic only for you Order Now ? Probably right under our very noses. What do you think, Jack This quote here shows us as that the detectives have no idea that they are actually eating the evidence of the murder right then and there. We, as the audience, obviously know what is going on and by Mary Maloney chuckling at that statement shows us that Dahl turned something as horrible as murder into something that she laughs at in the end referring to the idea of dark comedy. Verbal irony is also represented in this piece of literature. When she goes to the market, she talks to the grocer and states, ? No, Ive got meat, thanks. I got a nice leg of lam, from the freezer.? (pg. 20) This is verbal irony because it shows that what she is saying is basically telling the grocer what she used for the murder of her husband. The irony here is amusing, knowing the fact that killed the supposed love of her life and can so easily lie about it. So again, the verbal irony really catches the tone of the dark comedy that Dahl is trying to capture here. Both dramatic and verbal irony relate to eac h other in the sense that the audience feels the ideas of a tragedy as something funny therefore, relating back to the overall picture of the piece of literate as a dark comedy in the short story How to cite Lamb to the Slaughter, Essay examples

The Origin of Ideas Essay Example For Students

The Origin of Ideas Essay Webster’s dictionary defines the word idea as 1) something, such as a thought or conception, that potentially or actually exists in the mind as a product of mental activity, 2) an opinion, a conviction, or a principle, 3) a plan, scheme, or method 4) the gist of a specific situation, and 5) a notion. We have a better understanding of these definitions today because of the thoughts and writings of Descartes and John Locke. These two have very different views on the origin of ideas. Descartes is a rationalist, one who uses a method of inquiry that regards reason as the chief source and test of knowledge, while Locke is an empiricist, one having the attitude that beliefs are to be accepted and acted upon only if they first have been confirmed by actual experience. Their views are opposites, but they both left their mark on the concept and origin of â€Å"the idea†. Locke believes that all our ideas come from experience. The mind has no innate ideas, it has only innate abil ities. Our mind is like a clean white sheet of paper. It is experiences that fill our sheets of paper with characters and symbols (33). Locke also compares our acquisition of ideas to that of a child coming into the world. If the child grew up in a world of black and white he would know nothing (have no ideas) of a world of green or scarlet (35). Our mind can perceive, remember, desire, deliberate, and will. It is these mental activities that are themselves, which along with experience, are the source of most of the ideas we have. Locke also claims that our senses play a major role in creating ideas. The ideas we have due to our senses are called sensation. Without sensation the mind would have nothing to operate on and therefore could have no idea of it operations. A person has to have sensation before they can truly begin to have ideas. The operations of the mind are not produced by sensation, but sensation is required to give the mind material to work on (33-34). Just as sensation is an â€Å"internal sense†, Locke says there is another. This other â€Å"internal sense† he calls reflection. Reflection is the ideas created by the mind while reflecting on its own operations. He says that it is either sensation or reflection, the only two origins, from where ideas are created. External objects furnish the mind with ideas based on our senses (sensation), and the mind furnishes the understanding of ideas based on the operations it carries out (reflection) (34). Descartes has a much different view on the origins of ideas. He believes that people have innate ideas, or instincts that every person is born with. From these innate ideas we must use intellect and reason to form ideas. It is not the senses and experiences that allow us to gain ideas and knowledge, but our mind and the powers within it. Descartes displays this view in meditation two on page 23:â€Å"For since I now know that even bodies are not, properly speaking, perceived by the senses or by the faculty of imagination, but by the intellect alone, and that they are not perceived through their being touched or seen, but only through their being understood, I manifestly know that nothing can be perceived more easily and more evidently than my own mind.† The two opposing views on the origins of ideas by Locke and Descartes reflect their different approaches to philosophy. Locke is an empiricist. He believes that all concepts and knowledge are based on and can only be justified by experiences. Empiricism claims that knowledge derived by reasoning does not exist or is confined to â€Å"analytical truths†, which have no content. This basically says there can be no â€Å"rational† method, and the nature of the world can not be discovered through pure reason or reflection. Descartes is a rationalist. He believes in reason and intellect as the primary source and test of knowledge. Rationalism states that there are beliefs that are justified on thought alone. It is based on mathematics and stresses deductive reasoning over all other methods. Proofs are a popular way of communicating concepts and we see these proofs a lot in Descartes’ meditations. Everything must also have a sufficient reason or that a process must occur within some substance and cannot exist by itself. These beliefs can arise from intellectual intuition, the apprehension of self-evident truth, or from deductive reasoning. Extreme rationalism goes as far to express the belief that pure thinking and reasoning can discover the truths of physical science and even history. I consider myself more on the empiricist side of the spectrum. I believe that experience is the primary source of our ideas. I really like and understand Locke’s argument about the newborn child. If the child is raised in a world of black and white, it will never experience other colors. The child will have no innate ideas of these colors because the child doesn’t ev en know the colors exist. I don’t see how one could use reason and intellect to gain knowledge if there are things they haven’t experienced and therefore don’t know about. I do agree with the rationalist view slightly in one area. Once I have experienced things and have been awakened to new ideas, I have to organize them; otherwise they would make no sense. This is where the rationalist view enters. In order to transform these primitive ideas in to knowledge I have to make connections between my experiences and ideas. This requires intellectual thought and reasoning, the basis for the rationalist view. .u5c0f30373a26e95863712934e64dc0b2 , .u5c0f30373a26e95863712934e64dc0b2 .postImageUrl , .u5c0f30373a26e95863712934e64dc0b2 .centered-text-area { min-height: 80px; position: relative; } .u5c0f30373a26e95863712934e64dc0b2 , .u5c0f30373a26e95863712934e64dc0b2:hover , .u5c0f30373a26e95863712934e64dc0b2:visited , .u5c0f30373a26e95863712934e64dc0b2:active { border:0!important; } .u5c0f30373a26e95863712934e64dc0b2 .clearfix:after { content: ""; display: table; clear: both; } .u5c0f30373a26e95863712934e64dc0b2 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5c0f30373a26e95863712934e64dc0b2:active , .u5c0f30373a26e95863712934e64dc0b2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5c0f30373a26e95863712934e64dc0b2 .centered-text-area { width: 100%; position: relative ; } .u5c0f30373a26e95863712934e64dc0b2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5c0f30373a26e95863712934e64dc0b2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5c0f30373a26e95863712934e64dc0b2 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5c0f30373a26e95863712934e64dc0b2:hover .ctaButton { background-color: #34495E!important; } .u5c0f30373a26e95863712934e64dc0b2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5c0f30373a26e95863712934e64dc0b2 .u5c0f30373a26e95863712934e64dc0b2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5c0f30373a26e95863712934e64dc0b2:after { content: ""; display: block; clear: both; } READ: The Great Gatsby8 EssayExperience? Reasoning? How do we develop ideas and become the people we are. Perhaps it is a combination of the two methods. The origin of ideas is a very complex issue. Two great philosophers have opposing views on how an individual from the time of birth develops ideas and transforms them into knowledge. How are we to know which one is correct? Without experience how do we develop ideas about things and without reasoning how do we put the ideas together and make sense of them so we can gain knowledge. We need both of these methods of creating ideas in order gain the most we can. Neither one is totally correct; neither one is totally wrong. It is wh en you combine the two, using as little or as much rationalism/empiricism as one likes to get the true origin of ideas. Bibliography: