Statement: Whenever you have any doubt on this subject, you may refer to the book by Enn and Enn. Assumptions: The book by Enn and Enn is available. There is no other book on this subject. p> ?->(Show Answer!)

1. Statement: Whenever you have any doubt on this subject, you may refer to the book by Enn and Enn. Assumptions: The book by Enn and Enn is available. There is no other book on this subject.

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MCQ-> Please read the passage below and answer the questions that follow:Rene Descartes’ assertion that ideas may be held true with certainty if they are “clear and distinct” provides the context for Peirce’s title, “How to Make Our Ideas Clear.” Peirce argued that an idea may seem clear if it is familiar. Distinctness depends on having good definitions, and while definitions are desirable they do not yield any new knowledge or certainty of the truth of empirical propositions. Peirce argues that thought needs more than a sense of clarity; it also needs a method for making ideas clear. Once we have made an idea clear, then we can begin the task of determining its truth. The method that Peirce offers came to be known as the pragmatic method and the epistemology on which it depends is pragmatism. Peirce rejected Descartes’ method of doubt. We cannot doubt something, for the sake of method, that we do not doubt in fact. In a later essay, he would state as his rule “Dismiss make-believes.” This refers to Descartes’ method of doubting things, in the safety of his study, such things as the existence of the material world, which he did not doubt when he went out on the street. Peirce proposed that a philosophical investigation can begin from only one state of mind, namely, the state of mind in which we find ourselves when we begin. If any of us examines our state of mind, we find two kinds of thoughts: beliefs and doubts. Peirce had presented the interaction of doubt and belief in an earlier essay “The Fixation of Belief”.Beliefs and doubts are distinct. Beliefs consist of states of mind in which we would make a statement; doubts are states in which we would ask a question. We experience a doubt as a sense of uneasiness and hesitation. Doubt serves as an irritant that causes us to appease it by answering a question and thereby fixing a belief and putting the mind to rest on that issue. A common example of a doubt would be arriving in an unfamiliar city and not being sure of the location of our destination address in relation to our present location. We overcome this doubt and fix a belief by getting the directions. Once we achieve a belief, we can take the necessary action to reach our destination. Peirce defines a belief subjectively as something of which we are aware and which appeases the doubt. Objectively, a belief is a rule of action. The whole purpose of thought consists in overcoming a doubt and attaining a belief. Peirce acknowledges that some people like to think about things or argue about them without caring to find a true belief, but he asserts that such dilettantism does not constitute thought. The beliefs that we hold determine how we will act. If we believe, rightly or wrongly, that the building that we are trying to reach sits one block to our north, we will walk in that direction. We have beliefs about matters of fact, near and far. For example, we believe in the real objects in front of us and we believe generally accepted historical statements. We also believe in relations of ideas such as that seven and five equal twelve. In addition to these we have many beliefs about science, politics, economics, religion and so on. Some of our beliefs may be false since we are capable of error. To believe something means to think that it is true.According to Peirce, for a particular thought, which of the following statements will be correct?
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MCQ->Statement: Whenever you have any doubt on this subject, you may refer to the book by Enn and Enn. Assumptions: The book by Enn and Enn is available. There is no other book on this subject.

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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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MCQ-> The second plan to have to examine is that of giving to each person what she deserves. Many people, especially those who are comfortably off, think this is what happens at present: that the industrious and sober and thrifty are never in want, and that poverty is due to idleness, improvidence, drinking, betting, dishonesty, and bad character generally. They can point to the fact that a labour whose character is bad finds it more difficult to get employment than one whose character is good; that a farmer or country gentleman who gambles and bets heavily, and mortgages his land to live wastefully and extravagantly, is soon reduced to poverty; and that a man of business who is lazy and does not attend to it becomes bankrupt. But this proves nothing that you cannot eat your cake and have it too; it does not prove that your share of the cake was a fair one. It shows that certain vices make us rich. People who are hard, grasping, selfish, cruel, and always ready to take advantage of their neighbours, become very rich if they are clever enough not to overreach themselves. On the other hand, people who are generous, public spirited, friendly, and not always thinking of the main chance, stay poor when they are born poor unless they have extraordinary talents. Also as things are today, some are born poor and others are born with silver spoons in their mouths: that is to say, they are divided into rich and poor before they are old enough to have any character at all. The notion that our present system distributes wealth according to merit, even roughly, may be dismissed at once as ridiculous. Everyone can see that it generally has the contrary effect; it makes a few idle people very rich, and a great many hardworking people very poor.On this, intelligent Lady, your first thought may be that if wealth is not distributed according to merit, it ought to be; and that we should at once set to work to alter our laws so that in future the good people shall be rich in proportion to their goodness and the bad people poor in proportion to their badness. There are several objections to this; but the very first one settles the question for good and all. It is, that the proposal is impossible and impractical. How are you going to measure anyone's merit in money? Choose any pair of human beings you like, male or female, and see whether you can decide how much each of them should have on her or his merits. If you live in the country, take the village blacksmith and the village clergyman, or the village washerwoman and the village schoolmistress, to begin with. At present, the clergyman often gets less pay than the blacksmith; it is only in some villages he gets more. But never mind what they get at present: you are trying whether you can set up a new order of things in which each will get what he deserves. You need not fix a sum of money for them: all you have to do is to settle the proportion between them. Is the blacksmith to have as much as the clergyman? Or twice as much as the clergyman? Or half as much as the clergyman? Or how much more or less? It is no use saying that one ought to have more the other less; you must be prepared to say exactly how much more or less in calculable proportion.Well, think it out. The clergyman has had a college education; but that is not any merit on his part: he owns it to his father; so you cannot allow him anything for that. But through it he is able to read the New Testament in Greek; so that he can do something the blacksmith cannot do. On the other hand, the blacksmith can make a horse-shoe, which the parson cannot. How many verses of the Greek Testament are worth one horse-shoe? You have only to ask the silly question to see that nobody can answer it.Since measuring their merits is no use, why not try to measure their faults? Suppose the blacksmith swears a good deal, and gets drunk occasionally! Everybody in the village knows this; but the parson has to keep his faults to himself. His wife knows them; but she will not tell you what they are if she knows that you intend to cut off some of his pay for them. You know that as he is only a mortal human being, he must have some faults; but you cannot find them out. However, suppose he has some faults he is a snob; that he cares more for sport and fashionable society than for religion! Does that make him as bad as the blacksmith, or twice as bad, or twice and quarter as bad, or only half as bad? In other words, if the blacksmith is to have a shilling, is the parson to have six pence, or five pence and one-third, or two shillings? Clearly these are fools' questions: the moment they bring us down from moral generalities to business particulars it becomes plain to every sensible person that no relation can be established between human qualities, good or bad, and sums of money, large or small.It may seem scandalous that a prize-fighter, for hitting another prize-fighter so hard at Wembley that he fell down and could not rise within ten seconds, received the same sum that was paid to the Archbishop of Canterbury for acting as Primate of the Church of England for nine months; but none of those who cry out against the scandal can express any better in money the difference between the two. Not one of the persons who think that the prize-fighter should get less than the Archbishop can say how much less. What the prize- fighter got for his six or seven months' boxing would pay a judge's salary for two years; and we all agree that nothing could be more ridiculous, and that any system of distributing wealth which leads to such absurdities must be wrong. But to suppose that it could be changed by any possible calculation that an ounce of archbishop of three ounces of judge is worth a pound of prize-fighter would be sillier still. You can find out how many candles are worth a pound of butter in the market on any particular day; but when you try to estimate the worth of human souls the utmost you can say is that they are all of equal value before the throne of God:And that will not help you in the least to settle how much money they should have. You must simply give it up, and admit that distributing money according to merit is beyond mortal measurement and judgement.Which of the following is not a vice attributed to the poor by the rich?
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MCQ-> Read the following passage carefully and answer the questions given.Do you ever feel there’s is a greater being inside of you bursting to get out? It is the voice that encourages you to really make something of your life. When you act congruently with that voice, it’s like your are a whole new person. You are bold and courageous. You are strong. You are unstoppable. But, then reality sets in, and soon those moments are history. It is not hard to put youself temporarily into an emotionally motivated state. Just listen to that motivational song for that matter. However, this motivation does not stay forever. Your great ideas seem impractical. How many times have you been temporarily inspired with a idea like, “I want to start my own business.” And then a week later it’s forgotten? You come up with inspiring ideas when you are motivated. But you fail to maintain that motivation through the action phase.The problem we ask ourselves is, why does this happen? You can listen to hundereds of motivational speakers and experience an emotional yo-yo effect, but it does not fast. The problem is that as we are intellectually guided, we try to find logic in emotional motivation and as we fail to find logic eventually phases out. I used to get frustrated when my emotional motivation fizzled out after a while. Eventually, I realised that being guided by intellect, was not such a bad thing after all. I just had to learn to use my mind as an effective motivational tool. I figured that if I was not feeling motivated to go after a particular goal, may be there was a logical reason for it. I noted that when I had strong intellectual reasons for doing something. I usually did not have trouble taking action.But when my mind thinks a goal is wrong on some level. I usually feel blocked. I eventually realised that this was my mind’s way of telling me the goal was a mistake to begin with. Sometimes a goal seem to make sense on one level but when you look further upstream, it becomes clear that the goal is ill advised. Suppose you work in sales, and you get a goal to increase your income by 20% by becoming a more effective salesperson. That seems like a reasonable and intelligent goal. But may be you are surprised to find yourself encountering all sorts of internal blocks when you try to pursue it. You should feel motivated, but you just don’t. The problem may be that on a deeper level your mind knows you don’t want to be working in sales at all. You really want to be a musician. Matter how hard you push yourself in sales career, it will always be a motivational dead end.Further when you set goals, that are too small and too timid, you suffer a perpetual lack of motivation. You just need to summon the courage to acknowledge your true desires. Then you will have to deal with the self-doubt and fear that’s been making you think too small. Ironically, the real key to motivation is to set the goals that scare you. You are letting fears, excuses and limiting beliefs hold you back. Your subconscious mind knows you are strong, so it won’t provide any motivational fuel until. You step up, face your fears, and acknowledge your hearts desire. Once you finally decide to face your tears and drop the excuses, then you will find your motivation turning on full blast.What does the author want to convey when he says, “When you look further upstream, it becomes clear that the goal is ill advised.”?
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