Knife Conclusion

5. Conclusion
Answering what a knife actually is and what sets it apart from other similar pieces of metalwork, such as scissors or swords, requires revisiting Plato’s theory on the basis of which this essay has been structured. In order for the language to function on the principle of familiarity, one condition needs to be fulfilled: an interconnection, at least a minimal one, must exist between the realms of abstraction and materiality, i.e. between Forms and their exemplifiers (Ross 241). True enough, the nature of this relationship is somewhat unclear owing to Plato’s own inconsistency in regard to the definition of Forms – while his earlier writings see them as inherent attributes, his later works tend to qualify them more in the sense of sublime paradigms (31 ff.). From my

In case of Tess of the D’Urbervilles, the knife used to murder the villain fulfills a function that is not fairly strange for a knife in general, but it surely is for a carving knife, which was designed to serve as a kitchen utensil. Furthermore, Bob Jakin’s pocketknife, which exemplifies the co-occurrence of instrumental and intrinsic value, has demonstrated that even though one’s psychological projections in regard to an object cannot alter its crux, a personal item, which is originally seen as a merely instrumental good, can enslave its owner to the extent that the person starts attributing intrinsic value to their ‘beloved’ possession. The ‘Norfolk Knife’ is much different from the other two knives discussed in this paper as is a palpable material object, which can be seen even today, occupying the place of honour in Sheffield’s Cutters’ Hall museum, where it is on permanent display (Sheffield City Council 5). The essay was trying to answer whether the ‘Norfolk Knife’ ceases to be a knife given that it has yet to make its maiden cut. Judging by Plato’s theory of Forms, we call this exhibit a knife because, apart from practicality, it possesses all other