Ragerunner
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1) put your head down and sleep in the lecture
2) don't go
3) repeat 1 and 2
2) don't go
3) repeat 1 and 2
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中文歌詞! (3 Viewers)
- Thread starter bubz :D
- Start date
The Socratic dialogue is in essence a literary form, yet through post-Socratic philosophers, embodies an analytical process in which the dialectic is seen as process of attaining the ultimate or highest tier of philosophical knowledge. These dialectics are not meant to be historically accurate, nor are they purely literary works, but a combination of the two and also underlying the philosophical process in which a theory or hypothesis is tested and ultimately shown to be illegitimate. Using Plato’s “Apology,” the ‘recreation of Socrates’ defence at his trial and the “Gorgias,” in which the Sophist technique of rhetoric is pitted against that of Socrates’ dialectic. The methodology, purpose and more importantly, a practical demonstration is presented in both texts, and the literary form of philosophical examination is played out.
The aim of the Socratic dialectic is that of a tool to supplicate the philosophical undertaking of the individual, that is that it does not implant nor provide the person with a method of gaining new philosophies and ideas but rather is used as a test. The dialectic does not provide a replacement to the disproved hypothesis or stance and does not create a path onto which an answer can be sought. It therefore can be seen rather as the tool of philosophers, an exam to test the validity of claims and check them with reality as well as being of a middle ground, a metaphoric state of mediation between acknowledgement of the contradiction which stood, and ultimately our weakness and that which clouds the very essence of our grasp at ultimate human knowledge, and the advancement, again only through a self-autonomous and self-discovering nature, into finding enlightenment. This is a key characteristic within the ‘Socratic’ dialogues and runs through many of Plato’s other works. Whether or not they were truly Socrates’ own thoughts and teachings faithfully recaptured by the various authors or if it was merely Socrates, the symbol of the philosopher’s own concepts and agendas is not so much the case, for one must remember that ultimately all the writings and references to Socrates, Plato being the most numerous and ‘exact’ of the ancient sources, is that the dialogues are in essence written with a literary form, rather than an eye for a pure historical recreation. Furthermore, the discovery of other such ‘Socratic’ dialectic works tends to suggest that there was in fact an established ‘genre’ and rules, in which the Socratic community participated in. This is important as it suggests the basis for a structure to the dialectic, rather than a mere converse of two people. Whether this was the method with which Socrates practiced it has been debated, and evidence has suggested that in fact, it was much more conversational, specifically with his usage of the greek word dialegesthai, meaning ‘to converse.’
More specifically, by analysing Plato’s two dialogues, “Apology” and “Gorgias,” we can determine the Socratic style of dialectic methodology in practice within the two texts. This ability to compare and contrast the two offers the advantage of identifying certain characteristics as well as comparing whether the style itself is consistent within the same composer.
Within the methodology described within the “Gorgias” and the “Apology” is the clear distinctions and ‘steps’ of the procedure. It begins with the hypothesis or claim, a statement in which will become the subject of interrogation, the exetesis.
too tired -_-
The aim of the Socratic dialectic is that of a tool to supplicate the philosophical undertaking of the individual, that is that it does not implant nor provide the person with a method of gaining new philosophies and ideas but rather is used as a test. The dialectic does not provide a replacement to the disproved hypothesis or stance and does not create a path onto which an answer can be sought. It therefore can be seen rather as the tool of philosophers, an exam to test the validity of claims and check them with reality as well as being of a middle ground, a metaphoric state of mediation between acknowledgement of the contradiction which stood, and ultimately our weakness and that which clouds the very essence of our grasp at ultimate human knowledge, and the advancement, again only through a self-autonomous and self-discovering nature, into finding enlightenment. This is a key characteristic within the ‘Socratic’ dialogues and runs through many of Plato’s other works. Whether or not they were truly Socrates’ own thoughts and teachings faithfully recaptured by the various authors or if it was merely Socrates, the symbol of the philosopher’s own concepts and agendas is not so much the case, for one must remember that ultimately all the writings and references to Socrates, Plato being the most numerous and ‘exact’ of the ancient sources, is that the dialogues are in essence written with a literary form, rather than an eye for a pure historical recreation. Furthermore, the discovery of other such ‘Socratic’ dialectic works tends to suggest that there was in fact an established ‘genre’ and rules, in which the Socratic community participated in. This is important as it suggests the basis for a structure to the dialectic, rather than a mere converse of two people. Whether this was the method with which Socrates practiced it has been debated, and evidence has suggested that in fact, it was much more conversational, specifically with his usage of the greek word dialegesthai, meaning ‘to converse.’
More specifically, by analysing Plato’s two dialogues, “Apology” and “Gorgias,” we can determine the Socratic style of dialectic methodology in practice within the two texts. This ability to compare and contrast the two offers the advantage of identifying certain characteristics as well as comparing whether the style itself is consistent within the same composer.
Within the methodology described within the “Gorgias” and the “Apology” is the clear distinctions and ‘steps’ of the procedure. It begins with the hypothesis or claim, a statement in which will become the subject of interrogation, the exetesis.
too tired -_-
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crazylilmonkee
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Ok.. No more law... Time for FASHION 
Flair from everywhere
September 10, 2004
Extravagant festivals in Barcelona and New York coincided this week with Melbourne's fabulous parade of fashion. Janice Breen Burns reports.
A decade ago, when the lights went up on our first Australian Fashion Week in Sydney, its founder, Simon Lock, proposed a crazy-sounding pipe dream for local fashion's future: "Something to think about," he said at the time.
As if AFW weren't cheeky enough, offering, as it did, Australian designers as viable competitors on the same stage as Prada, Jean Paul Gaultier, Yves Saint Laurent et al, (let alone Gap, Guess and Gucci), Lock's off-the-wall, fries-with-that fantasy was (get this) one day, maybe, when the time is right, and all the planets are neatly aligned, Australian designers might even reverse the international fashion calendar.
In other words, instead of being six to 18 months behind, the rest of the world's buyers would shop with us first, leaving the rest of the world to gather their creative thoughts and fashion collections six to 18 months behind us. (Behind us.)
Stupid idea.
Or was it? This week in Barcelona, the increasingly internationally renowned Pasarela Gaudi fashion week offered a picture of summer 2005 remarkably similar to the one drawn by Aussie designers at Australian Fashion Week in May for our summer 2004-05. Early reports from New York's show series, in full swing now, also suggest Aussies accurately tuned into the Zeitgeist as they began work on their collections late last year.
Of course, fashion itself has become a helpful pointer for designers from one season to the next, conveniently and slowly evolving, shape by shape, detail by detail, instead of slapping down a new set of rules twice a year. But Lock's preposterous pipe dream does appear to be at least partially possible, and as fashion collectors supporting our local industry, we can trust the tourists who visit us and declare, "But - you're all so chic down here."
Frankly, so we are.
Flair from everywhere
September 10, 2004
Extravagant festivals in Barcelona and New York coincided this week with Melbourne's fabulous parade of fashion. Janice Breen Burns reports.
A decade ago, when the lights went up on our first Australian Fashion Week in Sydney, its founder, Simon Lock, proposed a crazy-sounding pipe dream for local fashion's future: "Something to think about," he said at the time.
As if AFW weren't cheeky enough, offering, as it did, Australian designers as viable competitors on the same stage as Prada, Jean Paul Gaultier, Yves Saint Laurent et al, (let alone Gap, Guess and Gucci), Lock's off-the-wall, fries-with-that fantasy was (get this) one day, maybe, when the time is right, and all the planets are neatly aligned, Australian designers might even reverse the international fashion calendar.
In other words, instead of being six to 18 months behind, the rest of the world's buyers would shop with us first, leaving the rest of the world to gather their creative thoughts and fashion collections six to 18 months behind us. (Behind us.)
Stupid idea.
Or was it? This week in Barcelona, the increasingly internationally renowned Pasarela Gaudi fashion week offered a picture of summer 2005 remarkably similar to the one drawn by Aussie designers at Australian Fashion Week in May for our summer 2004-05. Early reports from New York's show series, in full swing now, also suggest Aussies accurately tuned into the Zeitgeist as they began work on their collections late last year.
Of course, fashion itself has become a helpful pointer for designers from one season to the next, conveniently and slowly evolving, shape by shape, detail by detail, instead of slapping down a new set of rules twice a year. But Lock's preposterous pipe dream does appear to be at least partially possible, and as fashion collectors supporting our local industry, we can trust the tourists who visit us and declare, "But - you're all so chic down here."
Frankly, so we are.
bubz :D
the last laugh
nooo don't not get it just coz i might be.... well what colour are you thinking of getting? if i do get it, i'd probably get black.... too bad they don't make them point in different directions
hmm ok, well i'll get blue or something...bubz :D said:nooo don't not get it just coz i might be.... well what colour are you thinking of getting? if i do get it, i'd probably get black.... too bad they don't make them point in different directions
meh i went to mooks today, no more sale
and i have to advertise for that stupid yumcha festival tomorow. serves me right for volunteering.
...
^___^
fuck
stocktake tonight for coles
i never fucken knew there were so many hot asian chicks working in my store!!!
stocktake tonight for coles
i never fucken knew there were so many hot asian chicks working in my store!!!
back to the music courtesy www.jaychou.net:
�*听得到
Ni Ting De Dao
You Can Hear It
词：曾郁婷
Lyricist: Zeng Yu Ting
曲：周杰伦
Composer: Jay Chou
Simplified Characters/Pin Yin/English Translation:
有谁能比我知道
you shui neng bi wo zhi dao
�*的温柔像羽毛
ni de wen rou xiang yu mao
秘密躺在我怀抱
mi mi tang zai wo huai bao
只有�*能听得到
zhi you ni neng ting de dao
-
Who can understand better than me
That your gentleness is like a feather?
A secret is lying in my lap
Only you can hear it.
还有没有人知道
hai you mei you ren zhi dao
�*的微笑像拥抱
ni de wei xiao xiang yong bao
多想藏着�*的好
duo xiang cang zhe ni de hao
只有我看得到
zhi you wo kan de dao
-
Does anyone else know
That your smile is like an embrace?
How I want to hide your goodness
(So that) only I can see it.
站在屋顶只对风说
zhan zai wu ding zhi dui feng shuo
不想被左右
bu xiang bei zuo you
本来讨厌下雨的天空
ben lai tao yan xia yu de tian kong
直到听见有人说爱我
zhi dao ting jian you ren shuo ai wo
-
Standing on the roof proclaiming to the wind
That I don’t want to be pushed around.
The sky used to hate to rain [this is a fuckedup translation btw - it should be rendered something like 'it used to be a rainless sky/until it heard someone said they loved me']
Until it heard someone say they love me.
坐在电影院的二楼
zuo zai dian ying yuan de er lou
看人群走过
kan ren qun zou guo
怎么那一天的我们
zen me na yi tian de wo men
都默默的微笑很久
dou mo mo de wei xiao hen jiu
-
Sitting on the second floor of the movie theatre
Watching the crowd walk past.
Why did we on that day
Both quietly smile for so long?
我想我是太过依赖
wo xiang wo shi tai guo yi lai
在挂电话的刚才
zai gua dian hua de gang cai
坚持�*�单纯的小�*�
jian chi xue dan chun de xiao hai
静静看守这份爱
jing jing kan shou zhe fen ai
-
I think that I am too dependent.
When the phone was hanged just now,
(I) persisted in acting like a naïve child
Silently guarding this piece of love.
知道不能太依赖
zhi dao bu neng tai yi lai
怕�*会把我�*坏
pa ni hui ba wo chong huai
�*的香味一直徘徊
ni de xiang wei yi zhi pai huai
我舍不得离开
wo she bu de li kai
-
(I) know that (I) cant be too dependent.
Afraid that you would spoil me.
Your fragrance constantly hovers
I am so reluctant to leave.
�*听得到
Ni Ting De Dao
You Can Hear It
词：曾郁婷
Lyricist: Zeng Yu Ting
曲：周杰伦
Composer: Jay Chou
Simplified Characters/Pin Yin/English Translation:
有谁能比我知道
you shui neng bi wo zhi dao
�*的温柔像羽毛
ni de wen rou xiang yu mao
秘密躺在我怀抱
mi mi tang zai wo huai bao
只有�*能听得到
zhi you ni neng ting de dao
-
Who can understand better than me
That your gentleness is like a feather?
A secret is lying in my lap
Only you can hear it.
还有没有人知道
hai you mei you ren zhi dao
�*的微笑像拥抱
ni de wei xiao xiang yong bao
多想藏着�*的好
duo xiang cang zhe ni de hao
只有我看得到
zhi you wo kan de dao
-
Does anyone else know
That your smile is like an embrace?
How I want to hide your goodness
(So that) only I can see it.
站在屋顶只对风说
zhan zai wu ding zhi dui feng shuo
不想被左右
bu xiang bei zuo you
本来讨厌下雨的天空
ben lai tao yan xia yu de tian kong
直到听见有人说爱我
zhi dao ting jian you ren shuo ai wo
-
Standing on the roof proclaiming to the wind
That I don’t want to be pushed around.
The sky used to hate to rain [this is a fuckedup translation btw - it should be rendered something like 'it used to be a rainless sky/until it heard someone said they loved me']
Until it heard someone say they love me.
坐在电影院的二楼
zuo zai dian ying yuan de er lou
看人群走过
kan ren qun zou guo
怎么那一天的我们
zen me na yi tian de wo men
都默默的微笑很久
dou mo mo de wei xiao hen jiu
-
Sitting on the second floor of the movie theatre
Watching the crowd walk past.
Why did we on that day
Both quietly smile for so long?
我想我是太过依赖
wo xiang wo shi tai guo yi lai
在挂电话的刚才
zai gua dian hua de gang cai
坚持�*�单纯的小�*�
jian chi xue dan chun de xiao hai
静静看守这份爱
jing jing kan shou zhe fen ai
-
I think that I am too dependent.
When the phone was hanged just now,
(I) persisted in acting like a naïve child
Silently guarding this piece of love.
知道不能太依赖
zhi dao bu neng tai yi lai
怕�*会把我�*坏
pa ni hui ba wo chong huai
�*的香味一直徘徊
ni de xiang wei yi zhi pai huai
我舍不得离开
wo she bu de li kai
-
(I) know that (I) cant be too dependent.
Afraid that you would spoil me.
Your fragrance constantly hovers
I am so reluctant to leave.
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awwwwwwwwww wilson...inasero said:i reckon theyd be the 'banana' type rather than fobby...cos it'd be shameful to b seen working there
sorry to hear that you're working at maccas... that's tres-uncool. for a med student! i mean com'on victoria has the most myers in the country - go work for them...or otherwise, go work for a doctor as errm... a nurse. i bet you look sexai in a nurse's uniform LOL
btw austin's such a lucky cunt. in adelaide, a thousand miles from home. his own rented out place. banging some hongkie chick. fuck.
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...
^___^
wya too fucken long to translate, but nice style of writing it
its basically about someone that got dumped?
its basically about someone that got dumped?
people, may i introduce inasero, who wishes to be admitted to the family
what say ye?inasero said:lol nice work with the family tree...nominate meeee to be the unknown old grandpa eh! i'm a seedy old guy after all ehhehe
bubz :D
the last laugh
edit: encoding is screwed -__-
鄪秀文 --- 黑盒媐
(it's meant to say "hei he zi")
在我的世界 佪自由的來去
要離境要入境 起飛降落都由佪作決定
我只能守候原地 窉佪的降臨
窉佪的離去 窉佪把愛情暫時寄放在我的心里而已
#佪帶的行李 是最自私的熱情
燎原了我的心 在我的曲線嘆息間飛行
雖然決定不愛佪 然而一顆心 跟著佪旅行
沒有目標不能定居只有盤旋在痛苦里#
@佪的天地里到底會有凪個人在窉佪
在地平線那端 是否也有人跟我一樣在哪泣
在佪的旅途我是風景為佪美麗 為佪換表情
而我的幸福 是個謎 秘密@
愛得好空虛 解不開佪的心 黑盒媐般的心
愛已到了粉身碎骨 心也到了窮途末路
幸福何時水落石出 痛苦何時才結束
佪的窔案模模糊糊 我的苦難清清楚楚
就算愛是墳墓 我也要陷入
yah wilson, you can be me & bbd's sleazy grandpa so you're jess's daddy! HAHAHAHAHA
heh thanks nancy for posting that in my comments, except after i customised the html it looks retarded O__o oh well... and lol @ your sig
ESCAPE!!!!! WHO THE HELL IS GOING!?
shei qu ah? opal ni yao gen wo qu ah
鄪秀文 --- 如何掉眼淚
如吃掉芥辣都不刺鼻
洋蔥不再釋放傷感氣味
也許我今睌應該約佪
看一齣 悲慘戲
明明暗地裡是愛到要檻
偏要扮成二人是知己
落淚都需要避忌
連情緒崩潰亦怕騷擾佪
「如何掉眼淚 讓哪找不到檹據
這愛情沒佪準許 笑我沒有這資檼 別為佪心碎
『如何掉眼淚 自知身份都不對
要決媤 沒缺口 讓苦戀鯁於心裡 沖積結聚
完媴時仍然讓這秘密 埋藏在眼睛裡』
玫瑰盛放讓花粉撲鼻
陽光多猛雙眼都不要避
最好有風叫沙礫四散
刺激多些分泌
然而繼續暗地愛到要檻
一再扮成二人是知己
落淚都需要避忌
連情緒崩潰亦怕騷擾佪
想囪佪痛快的流淚
願眼淚 像被佪搾取
不想這一世 如同這檻水
沒藉口哪得心碎 只想眼淚 回流時
連同著這秘密 埋藏在血管裡
鄪秀文 --- 黑盒媐
(it's meant to say "hei he zi")
在我的世界 佪自由的來去
要離境要入境 起飛降落都由佪作決定
我只能守候原地 窉佪的降臨
窉佪的離去 窉佪把愛情暫時寄放在我的心里而已
#佪帶的行李 是最自私的熱情
燎原了我的心 在我的曲線嘆息間飛行
雖然決定不愛佪 然而一顆心 跟著佪旅行
沒有目標不能定居只有盤旋在痛苦里#
@佪的天地里到底會有凪個人在窉佪
在地平線那端 是否也有人跟我一樣在哪泣
在佪的旅途我是風景為佪美麗 為佪換表情
而我的幸福 是個謎 秘密@
愛得好空虛 解不開佪的心 黑盒媐般的心
愛已到了粉身碎骨 心也到了窮途末路
幸福何時水落石出 痛苦何時才結束
佪的窔案模模糊糊 我的苦難清清楚楚
就算愛是墳墓 我也要陷入
yah wilson, you can be me & bbd's sleazy grandpa
so you're jess's daddy! HAHAHAHAHAheh thanks nancy for posting that in my comments, except after i customised the html it looks retarded O__o oh well... and lol @ your sig
ESCAPE!!!!! WHO THE HELL IS GOING!?
shei qu ah? opal ni yao gen wo qu ah
鄪秀文 --- 如何掉眼淚
如吃掉芥辣都不刺鼻
洋蔥不再釋放傷感氣味
也許我今睌應該約佪
看一齣 悲慘戲
明明暗地裡是愛到要檻
偏要扮成二人是知己
落淚都需要避忌
連情緒崩潰亦怕騷擾佪
「如何掉眼淚 讓哪找不到檹據
這愛情沒佪準許 笑我沒有這資檼 別為佪心碎
『如何掉眼淚 自知身份都不對
要決媤 沒缺口 讓苦戀鯁於心裡 沖積結聚
完媴時仍然讓這秘密 埋藏在眼睛裡』
玫瑰盛放讓花粉撲鼻
陽光多猛雙眼都不要避
最好有風叫沙礫四散
刺激多些分泌
然而繼續暗地愛到要檻
一再扮成二人是知己
落淚都需要避忌
連情緒崩潰亦怕騷擾佪
想囪佪痛快的流淚
願眼淚 像被佪搾取
不想這一世 如同這檻水
沒藉口哪得心碎 只想眼淚 回流時
連同著這秘密 埋藏在血管裡
Last edited: