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The answers that I found provided by moral and political thinkers over the period fall broadly into three categories: 1. Those who argue that particular interests are generally harmful to the common good, and therefore need to be supressed in favour of the common good Hobbes falls into this category, with some caveats ; 2.
Those who argue that particular interests have to be manipulated, or set within some framework, in order to be brought into harmony with the common good this category is dominated by republican thinkers of the post-Civil War period, in particular I studied James Harrington ; 3. It is with the last of these answers that I ended the research, partly because of the limitations of a PhD thesis, but also because the language becomes moralised, and the debate becomes less about interests and the common good, and more about self-interest and altruism.
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Indeed, it was over this period that the language of interest becomes increasingly use by political writers on both sides of the Civil War debates. These debates are covered extensively in my thesis. Perhaps what has so far been lacking is a systematic study of how Hobbes uses the vocabulary in constructing his political arguments.
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So a better question is: what held back this form of analysis of the use of the vocabulary? Throughout my work on the early-modern period this is something I have eschewed, as I see the development of self-interest as having a different development. While I do have many differences with Mathiowetz, this is one point I think we agree on!
I am not sure that I am trying to make a point, but in the process of writing the essay I was forced to consider the question of method very seriously. In the course of presenting my argument to various scholarly forums, critics pointed out that it is difficult to see how an interest could be differentiated as a distinct concept. So, I dropped the claim that Hobbes was dealing with a new concept, and instead focused on vocabulary. In the essay I point out that:. The history of political thought is not simply to be conceived as a procession of concepts being introduced and subsequently developed or critiqued.
Rather, it is the deployment of arguments that constitute speech acts in the battleground of politics.
Hobbes Falls by Sally McLean - - Dymocks
I just thought they were cool to look at, and I got so I could identify and draw all sorts of them. My interests were quite fanatical in their way—and at the same time, incredibly superficial! BW: Yes, very encouraging, very supportive. My mom was basically my audience until I went to college, and my dad often introduced me to art supplies. He could draw pretty well, although he never had much time for it until later.
I think my dad was the one who told me Pogo was probably drawn with a brush. There was never any information back then, but I always had materials to play with. Really, I suppose the biggest gift my parents gave me was a lot of time. There was never a sense that I should be doing something else. That kind of time is just indispensable. My memory is that I spent hours and hours drawing, but it may have been fifteen or twenty minutes, who knows. But I drew comics from a very early age. It was the only kind of art I understood, and it connected immediately.
The simplicity of the drawings was like a big welcome mat. My whole childhood was about cartoons. I just loved them. The shows will provide a unique opportunity to see—up-close—the original art of these two gifted cartoonists. November 18, Bill Watterson: Long ago my friend Rich West recommended the library to me. I met Lucy Caswell and was much impressed with her vision and scholarly professionalism.
Some years after I stopped the strip, I wanted to get my work into a more protective, permanent environment, so the choice was a no-brainer. JR: The library and museum is focused on preserving and providing access to materials documenting the cartooning art form for public viewing and research. How do you feel this arrangement benefits the public? In making original work available for anyone to study, it also gives us access to our own history. There is much to appreciate and learn about this wonderful art. How did it feel to revisit the strip for this exhibition? JR: When conceiving of a new strip, did the words or images come first?
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Or, is it a hybrid process? Is the process fraught or does it flow? Generally, the writing underwent so many revisions that there was no point in drawing anything until the dialog was fully set. I could always visualize the pictures anyway.
It was the writing that gave me fits. JR: As newspaper readership—and, subsequently, production—declines, do you think there will be fewer opportunities for the average person to forge a lasting bond with a character the way that people did with Calvin and Hobbes? A shadow falls over the city's skyscrapers. It's a gigantic ant. One step pulverizes downtown. Millions die instantly. The ant brushes the city off the map.
People flood to the streets in panic, only to be smashed in the wreckage. Calvin has his foot above an ant hill, ready to smash it. He decides maybe he won't. Calvin trips over a rock and falls face first to the ground.
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He gets up angrily, and he kicks the rock. He starts to walk off. The rock hits something and bounces back, hitting Calvin in the head, knocking him face first to the ground. You know what would make this house a lot better? No, what? You should take out the stairs and put me in an elevator. I'll file that with your idea for a moving sidewalk. That's me. Oof , the human slinky.
Calvin stands on the top stair of the case. He bends forward and hits his head on the next step.
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Then, he tumbles over and hits his feet on the next step. Again and again it happens. Mom runs over to the bottom of the staircase and asks if he fell down the stairs again. Calvin, stuck head first between the floor and the bottom step, says that's him, the human slinky. You know, when you think about it, our lives are pretty nice. A lot of kids don't have as good of a home life as we do.
We really can't complain. When do you think they'll see the car windshield? Calvin tells Hobbes their lives are pretty nice. He says a lot of kids don't have as good a home life as they do.