Yeah it is. And sure fucking is from start to finish. Expect down-tuned, fast-paced Sludge Rock riffs that only Lords of Bastard could come up with. Lords Of Bastard even through a cool sounding piano into the mix. Opening track — Feel The Whoosh — is an experimental slice of Sludge Rock with added grunge based menace. Lords Of Bastard may seem they have a hard edge appeal but they also have a cool warm fuzzy punk exterior that gives their sound a huge likability factor.
Just enjoy the carnage as the band want to play with you. Environmental factors provide crucial clues to behavior. Both poems exhibit an insatiable need to look at the reflection in a mirror, as it becomes a compulsory aspect in focusing on the wholeness of the self as opposed to the tormenting feeling of fragmentation.
When fragmentation occurs, a sense of duality transpires and creates an environment in which the individual has difficulty deciphering reality from illusion. Though the movement from the mirror to the lake captures a feeling of possibility, transcendence, and moving forward, the reflection the speaker observes will never be acceptable without a coherent threshold encapsulating a sense of identity. Representation can never be synonymous with identity as it is a process of imitation.
Axelrod, Steven Gould. University of Wisconsin Press. Carroll, Lewis. Tan Lin. Dickinson, Emily. Jahan Ramazani, et. New York: W. Freedman, William. Mitchell, W. Frank Lentricchia and Thomas McLaughlin. Chicago: University of Chicago Press, Schwartz, Susan. MLA International Bibliography. Winnicott, D. New York: Routledge Publishing Company, I realized how melancholy the poet was because among all things surrounding her, Plath chooses a mirror to comment upon.
Munjeera, Thank you for all of the positive feedback you have been providing me! I made myself a promise, once the semester concluded, that I would dedicate more time to writing on this platform.
I am proud to say that I have kept that promise, and though I will begin teaching again, very soon, I still vow to maintain a voice on this platform, as it has offered me a place of solitude and a sense of belonging. I also hope to be able to better establish myself amongst the Artifice community and attain a position that allows for more responsibilities and participation in maintaining the site. So, thank you for the continued support, as it has meant so the world to me, Munjeera!! All Best, Danielle!!
True, but what if the individual is unable to identify the true inner self? These is some of the greatest poems in modern poetry and one that can be interpreted in many different ways.
It depends on your aims. When my mother told me that she uses my bathroom and bedroom for my baby nephew when he stays over, I shuddered. I leave psychic room for the possibility that they might notice each other.
I talk about the ghost now, joke about him. Contemporary science allows for the reality of my ghost only in so far as he is the content of a real hallucination or psychological process, steeped in my projections.
My disagreement begins with the assertion that hallucination or imagination are the only possible terrains of reality for my ghost. The new atheists like Richard Dawkins, Christopher Hitchens and Sam Harris — the worst of all ghostbusters — demand the universe, however physically massive, be as small and legible as possible.
They would do well to consult some better empiricists. Willard Van Orman Quine, a 20th-century American logician and philosopher, had little time for ghosts, but even less time for the sort of bad thinking that organizes the world into stable, immovable categories that could not ever allow for ghosts. Quine thought our theories of the world should be considered webs of belief, with centers and peripheries.
At the center of the web are propositions we might call analytically true, or a priori — e. On the periphery are beliefs that can be changed based on some recalcitrant experiences, e. Quine rejected that these are actually different types of truth, epistemologically i. Right now, as I sit here soberly typing, if I see a pink elephant dance into the room, my web of belief is such that I assume I am hallucinating, not that pink elephants dance into rooms.
It would take a decent dose of recalcitrant evidence for me to choose the latter explanation. Given that we develop these holistic systems in societal, not isolated contexts, it would likely take a critical mass of people experiencing the pink elephant to conclude that the pink-elephant hypothesis is a better story of reality than the hallucination hypothesis.
Webs of belief are holistic systems and can shift to include new, even radical propositions, so long as the entire web shifts accordingly. Rather, they delineate reality at a given time, and every proposition contained in such a web is in theory revisable. They could shift to include the existence of ghosts, or just one bathroom ghost. We can imagine a world in which we had enough shared experiences to include bathroom ghosts as verifiable objects in our web of belief.
Both sorts of entities enter our conceptions only as cultural posits. When Quine talked about conceptual schemes for future prediction, he failed to talk about desire, about ethics. The ghost invites an ethical consideration, not just an ontological one: he is indicative of inexplicable possibilities, which get ruled out as empirically impossible.
There is slight time signature changes to keep it from becoming too run of the mill. An organ solo plays out the last of the main riff before a final blast of a 70's freak out. The vocalist may not be the best singer on the planet but his voice carries the songs and reminds me a little of Bruce Lamont of Yakuza. The Old "Reflection In The Bathroom Mirror Trick" Y2K remix ' is up next, another great title and another great song, it goes from smooth jazz intro straight to stoner groove and onward to some Witchfinder General esque NWOBHM and a short black metal flourish before settling back in to the stoner groove again.
The organ twiddling away in the mix definitely has my attention.This was written by The English Beat singer and guitarist Dave Wakeling, who told Songfacts the story of the song: "I was working in construction at the time, and it was the winter.I had forgotten to hang my jeans up to dry overnight, so when I got into the bathroom to shower up, I noticed my jeans were still on the floor, soaking wet, covered in sand.