Is Socrates Right to Claim That a Wise Person Will Always Act Well Essays

Is Socrates Right to Claim That a Wise Person Will Always Act Well Essays Is Socrates Right to Claim That a Wise Person Will Always Act Well Essay Is Socrates Right to Claim That a Wise Person Will Always Act Well Essay Paper Topic: Guarantee Of Fact Is Socrates Right to Claim That a Wise Person Will Always Act Well? Name: Course: Date: Is Socrates Right to Claim That a Wise Person Will Always Act Well? Socrates asserts that a shrewd individual will consistently act in like manner. The subject of good and bad has been an inquiry man has endeavored to respond in due order regarding quite a while. It has been contended numerous a period that the capacity to tell directly from wrong exists in the man. Right or wrong activities are issues controlled by social morals and ethical quality in such manner. As indicated by Socrates, insight guides man to settle on the correct decisions. In this, he accepts that a shrewd man can never act wrongly. Be that as it may, the inquiry is the way evident this is. It is hence imperative to cross examine this case by discovering what precisely Socrates is proposing. It may be that shrewdness or comprehension of right or wrong originates from what society specifies through law and other cultural core values. While, then again, it may be inside the man to figure out what is correct and what's up. Socrates kept up that nobody energetically fouled up since wrong acts will consistently hurt the miscreant. The case here is that an indiscreet choice to act in a specific way inclines one to bad behavior that is basically numbness. This in reality is exceptionally evident. Individuals guarantee to have been uninformed of the unjust idea of their activities. In this sense, one ought not focus on accomplishing something without understanding the results that may follow such activity. In the event that one gets that, something isn't right, hence as an issue of personal circumstance or self-safeguarding so far as that is concerned one is fit for keeping oneself from participating in bad behavior (Manuel 2010). In any case, experience will refute Socrates’ position. There are individuals who foul up with full information on their outcomes. The need for doing such is for the most part to profit oneself to the detriment of others. In any case, Socrates’ conviction is valid in an undeniable and direct manner. It is on the whole correct to guarantee that individuals have the ability to decide to do things they comprehend individuals may see as off-base. It is likewise right to state that individuals may do things they think about corrupt for others in a journey to profit themselves. Notwithstanding, individuals never decide to perform acts they thought in the moment that they are settling on the choice to not be right or even unsafe to themselves. In this sense, it is clear that mankind has a solid feeling of profiting themselves. In situations where there are evident ramifications for accomplishing hurt in the activity, man despite everything makes a huge effort to cause and do hurt in the desire for accomplishing the great they accept will profit them (Rae 2000). While man has the ability to equitably see wrong in activities going to be performed, they have an instinctive feeling of self-safeguarding and childish increase. Our instinctive nature for serving personal circumstances push pe ople to foul up in any event, when they know about the grave results that may go with such choices. Take a case of a grieved man with the fixation of injuring himself through cuts. Such an individual is simply meaning to ease mental pressure. This man has found that cutting his substance goes about as an assuaging operator. It is fundamental that an obvious qualification is built up among means and finishes. This individual doesn't slice his skin to hurt himself; rather, it is a way to accomplish alleviation from stress. This individual supports that the general result of cutting himself is beneficial as long as he has figured out how to turn away mental torment. However, one might need to scrutinize the productivity of this technique, the hidden standard is that this individual has assuaged an upsetting circumstance consequently profiting him. From Socrates viewpoint, decisions, right or something else, accomplish the finishes the practitioner or chooser plans to acquire and not the strategies that have been utilized to accomplish these closures (Lee 2002). The differentiation emerging from target information or astuteness as indicated by Socrates, and human individual natural experiences is basic. Individuals can understand an inappropriate in taking, yet taking inclines them to encounter benefits in which they discover their lives improved in one manner or the other. The presumption in this announcement is that there is no inspiration for doing right or wrong if there is no advantage from such activities (Hildebrandt 2010). People need to keep an unmistakable differentiation among implies and the planned finishes. Subsequently, it will be certain that individuals not foul up things for saw great and advantages that outcome from an inappropriate activity. At the point when one advantages from the activities that are unmistakably horrendous, individuals despite everything have an internal conviction of profiting for themselves. It is likewise conceivable that individuals can act wrongly without expecting advantage from whatever they do (Rae 2000). For instance, a sequential executioner doesn't profit by the passing of the casualties yet at the same time determine a twisted feeling of fulfillment. Socrates guarantee about knowledge and doing right is an ideal projection of human instinct. Everybody has ground-breaking impulses to profit oneself. This trademark frames the premise of normal ethical quality. The subject of good and bad is dictated by the degree to which activities advantage individuals. It is additionally normally instilled in people to consider all that hurt them as being off-base. One may unbiasedly perceive the destructive idea of certain activities. In any case, the choice of good wrongness of an activity is must be left to the individual or people the choices influence. A non-fanatic individual is unequipped for understanding what is correct and what's up from an ethical perspective. Profound quality and morals originate from a point wherein one is mindful of the advantages or unsafe nature of activities being performed. Individuals desires consistently administer the decisions that they are going to make. It is not necessarily the case that ethic and profound quality are ideas completely controlled by human idea. Truth be told, structures of moral and good reasoning are autonomous of self-inspirations (Lee 2002). Be that as it may, reacting to personal circumstances that individuals can completely grasp profound quality and moral goals, and it is additionally obvious that ethical quality and morals are ideas that have happened by ethicalness of personal matters. Thusly, personal circumstance manufactures human ability to be good. Socrates doesn't guarantee that fouling up to others is ever right, yet the inspiration driving such activities is a deciding variable to the character relegated to the aims of the practitioner. Socrates accepted that awful choices carry mischief to people who make them. Along these lines, the capacity for one to be correct lies in inspecting the ethical norms of society. Bad behavior is an error in the judgment of the practitioner and communicates his numbness. A transgressor is uninformed of the way that awful activities cause them to seem pitiable and upgrade a fancy that off-base doing is valuable. One who has had the option to submit the most horrendous of activities without bringing about any results is considered as the most hurt individual since transgressors just mischief themselves. The core of an astute man is unadulterated, one who is acquainted with shameful acts is shocking, and their character is incredibly lessened. From Socrates perspective, damage to the spirit and to ones character is the best mischief an individual can endure. In this light, he recommends that man ought to have the option to guarantee that they do well without fail. One who comprehends this shrewdness will consistently right from now on. An astute individual isn't powerless to moral shortcoming. Moral shortcoming is where one knows about the illegitimate idea of a demonstration yet does not have the quality and resolution to make the best decision. Indeed, even in situations where one is overwhelmed by moral shortcoming, the absence of good quality for profiting oneself without bad behavior is in itself a type of numbness. For this situation, one is being uninformed of the correct methods for accomplishing the ideal finishes and is oblivious of what is generally useful and significant (Hildebrandt 2010). It doesn't make a difference that ones obliviousness is built out of insufficiency in the correct information or half-baked needs, ones choices will consistently be dictated by ones information or numbness. The astute man settles on information based choices that have been intended for settling on the correct choices consistently. On the off chance that ethical shortcoming is the premise of ones needs, it brings abou t the inconsistency of ones better judgment to make the best choice (Rae 2000). It is either those needs consent to the information on moral guideline or that needs consent to numbness that dismiss the advantage of ethically right choices in the general public. Socrates was directly in saying that a savvy man does no off-base. The choices of an insightful man are educated by information and the craving to do right. Knowledge as indicated by Socrates is breaking down the outcomes of activities and applying this investigation in the choices one make. Intelligence gives an entertainer an ethical inner voice to make the wisest decision as is normal from society. It has been perceived that ethical quality is driven by people’s personal circumstances (Lee 2002). It is in light of a legitimate concern for individual to live in the public eye that maintain moral measures that perceive the significance of network and guaranteeing hurt doesn't come to pass for the network. Such desires from one another have shaped the premise of morals and profound quality. It is along these lines, everyone’s right to guarantee that activities are socially adequate and intended for upgrading progress in the com

Religion Essays Diversity of Religious Cultures

Religion Essays Diversity of Religious Cultures The effect of migration extraordinarily influenced the decent variety of strict societies and conventions in Australia The effect of migration extraordinarily influenced the decent variety of strict societies and conventions in Australia. It significantly expanded in certain gatherings and causes a decrease in others, on account of the presentation of new divisions. Prior to 1945, Australia was dominatingly a Christian based society, lacking decent variety. The effect admidst the Second World War prompted an expansion in the Orthodox holy places and a few parts of Christianity. The abolishment of the White Australian Policy (1970s) implied that Australia was uninhibitedly open to different people groups from different nations looking for relocation to Australia. Because of this more Africans, Asians and Middle Easterns had the option to relocate, the vast majority of which brought new strict sections, for example, Islam, Hindiusm, Buddhism and so forth. Preceding 1945, Australia’s strict scene was for the most part commanded by Christians-for the most part Catholics and Anglicans. Indeed, even inside Christians, Anglicans commanded more in numbers as they were upheld by the administration and held some social power. Be that as it may, the fallout of WW2 with the displaced people looking for new lives empowered Jews to come to Australia-which contributed in expanding the quantity of Jewish followers in Australia. Additionally, the trademark ‘populate of perish’ during the 50s-60s empowered different Europeans to move to Australia, consequently expanding the quantity of Orthodox Christians. Despite the fact that since 1945, Christianity despite everything dwarfed different religions in Australia, the drop of the White Australian Policy in the mid 70s permitted migration from non-Christian nations, for example, Asia, India, Africa and Middle East-bringing religions Buddhism, Hinduism and Islam into Australia. This n ot just shapes the present strict scene of Australia having different religions other than Christianity, yet in addition affected the pace of Christianity to drop to 67.9% out of the entire populace of Australia. Changing examples of strict adherence 20 percent of Australians are non strict From 1996-2001 > emotional increment in Islam, Buddhism, Hindu and Judaism Due to the abolishment of the white Australian strategy migration expanded. After 1976 the Methodist church seized to exist. After 1976 the two new Christian sections emerged in Australia > Pentecostal church the joining church in 1981. Christianity as the significant strict convention Originally movement originated from Irland/Britain Immigration 14 universal sections in Australia Abolishment of white Australian arrangement. Denominational exchanging Within protestant or Anglican divisions individuals are readied two switch categories. 1991 the congregation life review shows that 29% of individuals had exchanged over the most recent 5 years. Explanations behind exchanging is on the grounds that; New comers joining or rejoining following various years. Ascent of new age religions: New Age lessons got famous during the 1970s Of ten utilize fundamentally unrelated definitions for a portion of their terms A free-streaming profound development Secularism: the conviction that religion ought not be associated with the normal social and political exercises of a nation. from 1788 to the current day, standard church participation has expanded from 10% to 20%. Individuals who partner themselves with no-religion in the registration rose from 7% in 1971 to 16% in 2001. The ANU review indicated 42% of reactions accepted religion was not significant. Framework changing examples of strict adherence from 1945 to the current utilizing enumeration information There have been huge decreases in the quantity of Christians routinely going to strict administrations. This decrease is generally apparent in the Anglican Church, the Presbyterian Church and the Uniting Church. The drop in the figures for these three divisions speaks to both a lessening in the level of the individuals who are subsidiary with that section just as a decrease in genuine numbers in the course of the most recent decade. The extent of Orthodox Christians in Australia became quickly after the Second World War and has remained very steady over the previous decade. Roman Catholics have kept on expanding both numerically and as a level of the populace, and have overwhelmed Anglicans as the biggest section in Australia. Pentecostal figures have shown solid development both numerically and as a level of the populace since the 1960s. Over the most recent ten years be that as it may, this precarious rising seems to have eased back down and arrived at a level. The noteworthy drop in the quantities of individuals consistently going to strict administrations ought to be perused related to the generous pattern in the expanding quantities of individuals composing No Religion or Religion Not Stated in the evaluation. The figure for religions other than Christianity, all in all, gives off an impression of being consistently expanding from a genuinely little base. Buddhist figures have developed at a consistent rate from 1972 onwards and is currently the biggest religion other than Christianity in Australia. Hinduism has kept up consistent development. The quantities of Muslims in Australia have likewise expanded significantly since 1945. In 2001 the extent of Jews was like that recorded in 1947. Christianity as the significant strict custom The huge decrease in the quantity of Christians normally going to strict administrations, particularly in the Anglican, Uniting Church and Presbyterian categories, can be credited to the maturing populace, the absence of vagrant admission and the general disappointment affecting on other standard Christian gatherings. Roman Catholics are proceeding to increment numerically, however not at the pace of the populace in view of its more youthful participation and generous transient admission. The critical increments in the Pentecostal figures can be credited to elements, for example, the enthusiastic idea of its love, its accentuation on contemporary music, the solid feeling of network and otherworldly help it gives, the alluring pioneers which lead the assemblage and the obvious answers it accommodates times of vulnerability. Pentecostalism is a fervent (fundamentalist and concentrated on change) and alluring (a solid accentuation on the endowments of the Holy Spirit) strand of the Christian religion. The stoppage in the expansion of Pentecostal figures over the most recent 10 years can be credited to the rotating entryway disorder which perceives that enormous quantities of Pentecostals stay with the Church for a generally brief timeframe and on the grounds that numerous Pentecostals were urged by their pioneers to compose Australian Christian Church as opposed to Pentecostal on the 2001 evaluation. Movement Changed Australia from being mono-social, mono-confidence to multi-social, multi-confidence. Since World War 2 and the lifting of the White Australia arrangement there has been considerably more decent variety in relocation and a going with increment in the assorted variety of strict groupings. Movement after World War 2 prompted expanded number of Catholics from nations, for example, Italy, Malta and so forth. This additionally expanded quantities of Orthodox Christians from Greece and Eastern Europe. After the completion of the White Australian arrangement in 1972 relocation created from a bigger scope of nations bringing a more extensive scope of religions. Movement has prompted noteworthy increments in the quantities of individuals who are Buddhist, Muslims, Hindus and Jews. Buddhists originated from Indo-Chinese nations Vietnam, Laos, Cambodia and in later occasions Malaysia, Hong Kong and China. Muslims originated from nations, for example, Indonesia, Lebanon, Iran and Iraq, Bosnia. Increments have additionally happened in Christian divisions where there is an enormous non-Anglo populace Orthodox (Eastern Europe) and Catholic houses of worship (from prevalently Irish to incorporate Mediterranean, Eastern European, Asian, South American, African individuals). Expanded nearness of an assortment of strict gatherings has additionally prompted a more noteworthy energy about this decent variety. Denominational exchanging By far most of individuals subsidiary with strict gatherings in Australia were naturally introduced to that religion. The wonders of trading between divisions or gatherings of a similar strict convention is known as denominational exchanging. Denominational exchanging is more typical in Protestant Churches than in the Catholic Church. Most of Pentecostals have moved from another Protestant category to join the Pentecostal gathering. Pentecostal is the term used to portray Christian groups which have a solid accentuation on the endowments of the Holy Spirit (talking in tongues, recuperating, prediction and so on). They are frequently generally little gatherings which accommodates increasingly close to home collaboration, they additionally have energetic love. Pentecostalism is the quickest developing Christian gathering. Most Pentecostals have changed to the gathering from another Christian category. Many leave again after around 2 years this is known as the rotating entryway disorder. Ascent of New Age religions Evaluation figures show a significant degree of disappointment with customary strict gatherings. Close by this disappointment means that a solid and developing yearning for a profound measurement to life. New Age is an umbrella term which alludes to a scope of option or potentially pseudo-strict gatherings that individuals are pulled in to. New Age religions are portrayed by their reception of components of Eastern religions and their ensuing dismissal of customary Western perspectives, and the way that it favors creation focused otherworldliness. A few instances of new age religions are feng shui, yoga, judo, crystal gazing, tarot cards, numerology and so on. Numerous individuals maintain conventional strict convictions and practices however supplement them with new age components. Secularism Secularism is the conviction that religion ought not meddle with or be coordinated into the open issues of a general public. There are various variables which have added to the decrease of r

Questions to Ask a New Therapist

Questions to Ask a New Therapist PTSD Treatment Print Questions to Ask a New Therapist By Matthew Tull, PhD twitter Matthew Tull, PhD is a professor of psychology at the University of Toledo, specializing in post-traumatic stress disorder. Learn about our editorial policy Matthew Tull, PhD Medically reviewed by Medically reviewed by Steven Gans, MD on August 05, 2016 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on July 30, 2019 Tom M Johnson/Blend Images/Getty Images More in PTSD Treatment Causes Symptoms Diagnosis Coping Related Conditions PTSD and the Military Knowing what questions to ask a therapist during your visit can help reduce anxiety. Knowing what to ask can also help you determine whether there could be a good fit between you and your new therapist. Here are some questions that you may want to ask in order to get a better feel for your new therapists background, training, and expertise. Are You Licensed? Therapists are generally required to be licensed by the state in which they practice, or at least be under the supervision of someone licensed. All states have different requirements for licensure; however, being licensed means that the therapist has passed the minimum competency standards for training within that state. Competency is usually achieved by obtaining a certain degree, obtaining a certain number of hours working with clients, and having passed a written and/or oral exam. What Kind of Training Have You Received? Depending on who you are meeting with, the educational background of therapists can differ. For example, your therapist may be a psychiatrist, psychologist or licensed clinical social worker. All of these professions are able to provide therapy; however, the education they received is different. In addition, it would be important to ask the therapist if, as part of his or her education, he or she received training in the treatment of posttraumatic stress disorder (PTSD). What Is Your Treatment Orientation? Just as the educational background of therapists may differ, so will their orientation. What is meant by the word orientation? Orientation refers to the psychological theory that the therapist draws from in understanding and treating psychological difficulties. For example, some therapists believe that psychological difficulties stem from problems in thinking. This type of therapist would likely have a cognitive behavioral orientation. Others may believe that psychological difficulties stem from our early childhood (particularly, our attachment to caregivers). This type of therapist would be considered to have a psychodynamic orientation. There is no one right orientation. However, a therapists orientation is going to influence how they would go about conceptualizing and treating your PTSD. Ideally, you would want to find a therapist that views your difficulties in a way that makes sense to you. How Many Patients With PTSD Have You Treated? You should ask a therapist if they have had experience in treating PTSD. In addition, it would be important to know how they generally go about treating PTSD. Do they use exposure therapy? Psychodynamic psychotherapy? Is the treatment they use supported by research? There are many treatments for PTSD out there; however, only a few are supported by research. You would want to find someone who is familiar with these treatments and uses them in their practice. What Is Your Expertise or Specialty? Some therapists have received specialized or focused training in one or two disorders. If you are seeking help for your PTSD, you would want to know if the therapist has expertise in trauma, PTSD, or at the very least, anxiety disorders. What Is the Cost per Session? Therapy can be expensive, and therefore, it is important to know from the beginning how much each session is going to cost you. You may also want to ask what kind of insurance is accepted and what your co-pay would be. If you are having trouble affording therapy, you may want to inquire if the therapist has a sliding scale. This means that the therapist has different prices depending on the clients income. Can You Prescribe Medication or Make Referrals for Medication? People differ in their beliefs on the use of medication for psychological difficulties. However, if you are interested in being evaluated for medication, it would be important to meet with a psychiatrist or to ask your therapist if he or she can make a referral to a psychiatrist. Do You Stay Up-to-Date on Research on PTSD? New research  findings on PTSD and its treatment come out almost every day. Therefore, you would want to make sure that your therapist stays up-to-date in their training and familiarity with new research on how best to treat PTSD. Will Therapy Be Time-Limited or Long-term? Some PTSD treatments may be time-limited. That is, they may last only for a certain number or sessions. Other treatments may be more long-term. It would be important to talk with your therapist about whether or not your treatment will be ongoing or will end after your symptoms are reduced to a certain point. Finding the Right Therapist It can be very difficult to find the right therapist for you. Remember, in seeking out a new therapist, you are a consumer, and you should approach the experience as you would making an investment. In many ways, beginning therapy is an investment. It is an investment in both time and money, as well as your future. Therefore, it is important that you find the therapist that is going to work best for you in getting your needs met. This list of questions is not an exhaustive list; however, it should help you start thinking about what kind of therapist you want and what kind of questions you can ask.

When I Have Fears and Mezzo Cammin Essay - 783 Words

Irene Lee Ms. Bufkin AP Lit and Comp 6 11 April 2011 Timed Essay Corrections—When I Have Fears and Mezzo Cammin As people near the time of their deaths, they begin to reflect upon the history and events of their own lives. Both John Keats’ â€Å"When I have Fears† and Henry Longfellow’s â€Å"Mezzo Cammin† reflect upon the speakers’ fears and thoughts of death. However, the conclusions between these two poems end quite differently. Although both reflect upon Death’s grasp, Keats’ displays an appreciation and subtle satisfaction with the wonders of life, while Longfellow morbidly mourns his past inactions and fears what events the future may bring. The two poems are similar in their corresponding feeling of dread for death. Using diction,†¦show more content†¦The speaker believes that love is hard to come by and that he is sad that he may not encounter it, since death is just around the corner. The speaker then also talks of â€Å"unreflecting love,† thus depicting that the speaker has never experienced real love and is unlikely to ever experience it, because he is so worried about death’s fast approach. However, at the end of â€Å"When I have Fears,† the speaker reflects that his goals for literary prowess and love are â€Å"nothingness† in comparison to the grand scope of things. There is hope after death, and Keats’ narrator finds solace in this. Although he has not achieved everything he had wanted, the speaker is still appreciative of what he was able to do. On the other hand, Longfellow’s speaker in â€Å"Mezzo Cammin† takes on a much more sorrowful and negative tone. Using diction of â€Å"half of my life,† â€Å"years slip,† and â€Å"not fulfilled,† Longellow shows that the speaker is really dreading and mourning his day to go. It seems that the speaker’s fear of death completely and irresolutely hinders him from accomplishing any of his goals. He is too busy being pessimistic about his life that he is unable to live in the present. He is also unable to dream into the future. Unlike Keats’ speaker, Longfellow’s speaker is completely stunted in from any possible growth. He is too stuck in the Past and its images of â€Å"smoking roof, soft bells, and gleaming lights.† This hazyShow MoreRelatedâ€Å"When I Have Fears† and â€Å"Mezzo Cammin† Essay981 Words   |  4 PagesStephanie Villalobos Mr. Domingo AP Literature; Period 2 August 23rd 2010 â€Å"When I Have Fears† and â€Å"Mezzo Cammin† Essay In the two poems, â€Å"When I Have Fears† by John Keats and â€Å"Mezzo Cammin† by Henry Wadsworth Longfellow, both of the poets deal with the death that they believe is quickly approaching them and think back to their regrets in life. Keats during the time when this poem had been written had just seen his brother die of tuberculosis and due to this he believed he too would soon dieRead More`` Mezzo Cammin `` By Henry Wadsworth Longfellow And When I Have A Fear1155 Words   |  5 Pagesthe poems â€Å"Mezzo cammin† by Henry Wadsworth Longfellow and â€Å" When I have a fear† by John keats, both poems themes are about the imminence of death and their unfulfilled dreams in life. There are many similarities in the poem but they are mostly in the beginning of the poems, the conclusion on the other hand is not similar. In â€Å"Mezzo cammin’’ the main theme of the poem is the reminisce of his dreams from the past. Keats poems emphasize a theme of the waste of a physical life and his fears associatedRead More`` Mezzo Cammin `` By Henry Wadsworth Longfellow And When I Have Fears1328 Words   |  6 Pagesis that of succumbing in pursuit of one’s aspirations, especially with the approach of death. The fear and enigmatic mystery of death at the brink of this shortcoming may cause one who is near death to re-evaluate life as a wasted opportunity or a broken path of dreams because of the inability to find any type of success. The sonnets â€Å"Mezzo Cammin† by Henry Wadsworth Longfellow and â€Å"When I have Fears† by John Keats examine the thought processes of two people who submit to the struggles of life inRead MoreComparing The Poems When I Have Fears 1229 Words   |  5 Pagespoems â€Å"When I have Fears† by John Keats and â€Å"Mezzo Cammin† by Henry Longfellow have many similarities and differences in their tones, on their views on life and death, and on the symbolisms used to descri be the poets’ lives. The two poets can be seen as opposites as one is more hopeful and optimistic, while the other is more pessimistic and accepting of failure. A similarity between the two poems is that they both surround the fear of dying before accomplishing life dreams. In â€Å"When I have Fears†, KeatsRead MoreSimilarities Between Keats And Longfellow750 Words   |  3 PagesWhile both Keats and Longfellow often reflect on their own unfulfilled dreams and impending deaths, the poems however contrast on their own dispositions towards death and the future. Here, Keats expresses a fear of not having enough time to accomplish all that he believes he is capable of doing, but as he recognizes the enormity of the world and his own limitations of life, he realizes that his own mortal goals are meaningless in the long run of things. On the other hand, Longfellow speaks of aRead MoreKeats vs. Longfellow559 Words   |  2 Pagesboth Keats and Longfellow’s poems, â€Å"When I Have Fears† and â€Å"Mezzo Cammin,† focus on the unfulfillment of goals in life and the menacing appearance of death, their final assumptions of death are related but different. Both poems share similarity focusing on the poets’ thoughts as they contemplate the inevitability of their deaths and whether their accomplishments have meaning after death, but the poets exhibit a different attiutude towards their subject. Keats fears that he will not be able to fullyRead MorePoetry Essay Prompt2545 Words   |  11 PagesCitizen† (W.H. Auden) Prompt: In a brief essay, identify at least two of the implications implicit in the society reflected in the poem. Support your statements by specific references to the poem. 1972 NO POEM 1973 (exam not available) 1974 Poem: â€Å"I wonder whether one expects...† (No poet given) Prompt: Write a unified essay in which you relate the imagery of the last stanza to the speaker’s view of himself earlier in the poem and to his view of how others see poets. 1975 NO POEM 1976 Poem: â€Å"Poetry

How to Make a Review of Related Literature - 6112 Words

How to Make a Review of Related Literature Do not you know how to make a review of related literature? No panic! Make use of our guide and you are sure to create a qualitative review of related literature. What is a Review of Related Literature? A review of related literature is an integral part of theses or dissertations. It may also be a required part of proposals. The main purpose of a review of related literature is to analyze scientific works by other researchers that you used for investigation critically. How to Write the Introduction of a Review of Related Literature In order to make the Introduction elaborately, take the following steps: Identify the general topic of the sources under discussion. Thus, you will provide the†¦show more content†¦Such data types may reside on the same data storage device or may come from different source media such as CD-ROM and/or digital video disk (DVD). Programs were reviewed that facilitated multimedia implementation in educational settings. Commercial products provided a rich source of choices. Commercial Products Authoring programs used in this and other multimedia projects were Claris Home Page to create web pages, Microsoft Power Point to create presentations, and Microsoft Front Page to create web pages. Other programs widely used for multimedia authoring were HyperCard (a program that required some programming knowledge – largely used to create kiosks, and other instructional presentations), and Hyperstudio (a more user-friendly version of Hyper Card that worked very well with kindergarten through fifth grade students). HyperCard, Hyperstudio, Claris Home Pa ge, Microsoft Front Page, and Microsoft Power Point supplied a rich environment in which to create multimedia projects. These programs were used in the implementation of this study due to their ease of use and versatility. All products referenced were available to be used by students and teachers to create projects incorporating linkages to text, scanned images, full motion video and audio clips. Programs were chosen based upon their ability to convey subject matter in non-linear presentations. Multimedia-related Terms Multimedia-related definitions were presented byShow MoreRelatedSample Research Paper1642 Words   |  7 Pagesmain purpose of a research proposal is to show that the problem you propose to investigate is significant enough to warrant the investigation, the method you plan to use is suitable and feasible, and the results are likely to prove fruitful and will make an original contribution. In short, what you are answering is will it work? A provisional way of presenting all the parameters of research in logical order is known as proposal-writing stage. 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Being a Girl Free Essays

Being Girl: A Sociological Memoir My first memory of kindergarten was this: dozens of tiny, petrified 5-year-olds being dropped off at their first day of school, and dozens of exhausted, overworked mothers consoling their weeping sons and daughters. I remember it vividly because, despite the terror and chaos, a single thought pervaded my mind, the thought that â€Å"these moms are not as pretty as my mom. † I wasn’t entirely biased, either. We will write a custom essay sample on Being a Girl or any similar topic only for you Order Now By North American standards of beauty, I was correct. Here was my mother, a rail-thin, blonde-haired, blue-eyed statuesque stunner, among a sea of frumpy women with visible wrinkles and tangles of black hair. And here I was, the daughter of this perfect specimen, the proud owner of a mother who was more â€Å"feminine†, more â€Å"womanly†, and therefore, I naively deduced, â€Å"a better mother†. In fact, although my vocabulary was fairly limited at the time, I believed her to be the epitome of all mothers. She looked, I told her that morning, â€Å"like a mom was supposed to look. † In interviewing my mother, she said that this was my â€Å"first brush with what it meant to be a girl. † Throughout kindergarten, I was labeled â€Å"weird†. I dug for worms, collected Pokemon cards (which was deemed a â€Å"boyish† activity), and none of my friends were girls. My teacher, a young woman who had just recently graduated from university, was often concerned for me, and thought that my lack of female friends would be detrimental to my developing of social skills, so she would often encourage the popular girls in the class to include me in their recess activities. They did as they were told, and despite my hesitation, I jumped rope with them at recess, while still managing to play with the boys for short periods of time. Finally, one day, the girls gave me an ultimatum: â€Å"us† or â€Å"them†. If I wanted to be an â€Å"official† member of their â€Å"club† (This was serious business; they had membership cards made out of construction paper), I had to give up the toy trucks and the rambunctious boys. With the encouragement of my teacher, I severed ties with the boys. Although I missed them, I quickly learned that being a girl was â€Å"better† anyways. Apparently, girls were allowed to wear makeup and dresses and boys had cooties and never took baths and didn’t I like being clean? I suppose I liked being clean, but what I really liked was being accepted by this particular group of popular girls. I suppressed my love of all things â€Å"dirty†, all things that were labeled â€Å"boy†, and developed a superficial affinity for all things typically â€Å"girly†, in an attempt to fit comfortably into this group. I skipped rope at recess, I choreographed dances, and I received a ballerina outfit from my parents at Christmas that I absolutely adored. Being a girl was not very hard. It came with a list of instructions. Do this, talk like this, wear this, and you are a girl. It was less of an innate instinct than it was a learned act. I wasn’t born with an eyelash curler in hand, rather, it was handed down to me by a girl older than myself. The torch of femininity was passed down from generation to generation until it finally landed in my dirt-stained lap. In 9th grade, in a fit of rebellion against my mother, who I fought with often around this time, I cut my hair short. Not just â€Å"short†, I cut my hair boy short, a look my mother wasn’t too fond of, which, naturally, made me covet and admire it more, because nothing is as satisfying as a mother’s disapproval when you are a rebellious teenager. When I returned to school the Monday following my haircut, however, I didn’t get the positive reaction I had anticipated. No, the minute I walked into my first period class, the official â€Å"bully† of the grade, a tall, unattractive fellow, asked me if I had become a â€Å"dyke†, and insisted on calling me â€Å"dykey† for the remainder of the day. The strange behavior of my classmates didn’t stop there. Girls I only casually talked to began avoiding me, which I learned while interviewing a friend from that time was because they were â€Å"convinced I was trying to hit on them†. Boys treated me differently as well. According to this same friend, it was because they believed I was gay. Not â€Å"lesbian†, because, for them, the word â€Å"lesbian† conjured up images of attractive girls drunkenly kissing at a house party, but gay. Gay as in homosexual, gay as in â€Å"fag†. I didn’t understand why a simple haircut had drastically changed my classmate’s opinions of me. Sure, I dressed a bit â€Å"boyish†, as I wasn’t fond of dresses and found skirts to be uncomfortable, but that was all a matter of taste, not sexuality. Wasn’t it? Besides, I wasn’t gay. I had a boyfriend at the time. I quickly learned that being â€Å"gay† had little to do with who you liked, and more to do with what you did. The â€Å"last straw†, the event that acted as a catalyst, the one that prompted me to conform to what it meant to be a â€Å"girl†, occurred the day I accompanied my sister to our high school’s uniform shop to buy her a blazer. My hair was still cropped short at the time. I wore long, baggy jeans, no makeup, and an oversized band t-shirt. Upon walking up to the cash register, the lady behind the counter turned to my sister and blurted out, innocently, â€Å"Oh, is this your brother? † I was too embarrassed to correct her, and instead gazed at her awkwardly until she realized her mistake. After a moment of tense silence, it dawned on her. â€Å"Oh! haha, silly me, I meant sister,† she swallowed nervously, embarrassed. I honestly didn’t really mind being confused for a boy, but this lady was intent on defending my womanly honor. â€Å"I’m really, really sorry. You know, when I was young, I had short hair for while, and tons of people thought I was a boy. It was so embarrassing. † Surprisingly, her short anecdote did not make me feel better. According to her, being confused for a boy was this terribly embarrassing ordeal that she carried with her all her life. She apologized profusely for the mixup, and continued to do so throughout the school year, whenever I happened to stop by the uniform shop. Through her, I learned that not adhering to strict gender rules on how one should dress caused embarrassment and humiliation, and I therefore should’ve been profoundly humiliated when the mixup occurred. When future incidents similar to this one occurred (I was confused for a boy a second time in a restaurant a few months later), I knew that I should be ashamed of myself. I had utterly failed at being feminine, so much so that I might as well have been a boy. Oh the horror. The fear of â€Å"not being girly enough† grew more intense with every snide remark and homophobic slur, and I soon found myself staying home on weekends, retreating to my room, my fortress, playing video games while my peers downed copious amounts of alcohol and partied, for the few months it took my hair, the symbol of my femininity, the only thing that differentiated me from a boy, to grow back. Once it did, I was quickly re-accepted into my group of peers. I was a girl, I looked like a girl, and I acted like a girl, and this seemed to please them. I â€Å"knew my place†, so to speak. Gender Roles and Sexuality While gender has both biological and neurological components, my personal experiences with gender have allowed me to see gender as more of a social construct. In terms of gender, I’m a believer in behaviorism, the psychology that emphasizes socialization over biology in creating gender identity. In my experiences, for the most part, gender was not a naturally occurring phenomenon, it was taught. My experiences mostly relate to feminist postmodernism, which, out of all the categories of feminism in relation to gender, emphasizes the influence of social constructs the most. Queer Theory, a methodology within postmodernism that was introduced by Professor Judith Butler in her book Gender Trouble, also relates to my experiences. The theory states that gender identity is not created by biology, but by â€Å"gender performance. † She argues that individuals are not distinctly â€Å"male† or â€Å"female†. Male and female were opposites on a spectrum, and most people fell somewhere in the middle of the spectrum, but â€Å"acted† more male or female depending on the situation. Growing up, I displayed different characteristics that were specific to both males and females. I was quiet, a characteristic usually attributed to girls, and I was â€Å"tough†: I occasionally picked fights, a characteristic usually attributed to boys. Butler’s theory that people act exclusively male or female to conform to gender expectation is completely relatable. In order to be a â€Å"girl†, I had to give up my â€Å"other half†. In my above narrative, I mentioned that, to be part of the popular girl’s posse, I had to sever ties with the boys. In this situation, I was either a â€Å"girl† or a â€Å"boy†, and I had to choose which one I wanted to be. I ultimately chose girl, although I would have much preferred if I could maintain both my male and female characteristics and qualities. Queer Theory also states that gender â€Å"performances† are restricted by sanctions (Steckley, Letts 360). We avoid acting out (or performing) in ways that conflict with gender norms because we want to avoid negative sanctions. In my experiences, negative sanctions imposed by my peers (including overt forms of bullying, being labelled a â€Å"dyke†, and being rejected) fostered in me a deep-seated fear of ostracism, and I learned to conform to gender norms and roles in order to gain acceptance among my lassmates. I believe the â€Å"ideology of fag† perfectly sums up my aforementioned experiences. The ideology of fag is a set of beliefs which dictates that â€Å"if you violate a gender role, you must be gay† (Stekley, Letts 360). Prior to my ostracism, the word â€Å"gay†, to me, was a neutral word. It simply refe rred to homosexuality. However, in high school, â€Å"gay† became an accusation, a threat. Being a â€Å"lesbo† or a â€Å"dyke† was something immoral. It was an insult hurled at me with the utmost contempt. It became the most powerful sanction, the one that I believe played the biggest role in my gender socialization. My classmates made it clear that a â€Å"dyke† was something that I didn’t want to be, and therefore, to eliminate any traces of lesbian-ness, I had to â€Å"become† a girl. If I was gay because I violated gender roles, because I dressed like boys and enjoyed activities that boys typically enjoyed, then all I needed to do to not be gay was to stop violating these gender roles. Gayness, in essence, was in no way related to who you were sexually attracted to; it referred to the violation of gender norms. Acting aggressive, initiating fights and being obnoxious â€Å"meant† that a girl was a lesbian. A passive, nurturing, sensitive boy was gay. This relates to Ann Oakley’s concept of gender and gender roles. Gender roles are â€Å"sets of expectations concerning behavior and attitudes that relate to being male or female† (Steckley, Letts 354). Gender roles, their enforcement, and the severity of the consequences doled out to those who reject them differ across cultures and societies. In my classroom, in my pseudo-society, there was no room for androgyny. Gender roles were rigidly enforced, and anyone who strayed from them was ridiculed and marginalized. Boys who did not assert themselves, or boys who ventured into the category of subordinate masculinity, as opposed to complicit or hegemonic, were routinely beaten, demeaned and humiliated until they â€Å"manned up†, hid their homosexuality (in most cases, however, they were not gay, simply â€Å"too sensitive†) and participated in complicit masculine practices. Girls who did not act typically feminine, sensitive and unabashedly â€Å"girlish† were marginalized as well, and although they did not suffer to the same extent that the marginalized boys did, and were not subjected to beatings, they nevertheless were severely pressured into assuming a â€Å"traditional† female gender role. Today, my hair is longer. It is blonde at times, brown at times, it is often black, but it is never short. My uniform consists of tights, shorts and skirts. I have worn pants approximately 3 times this semester, and on each occasion it was because I was running late. I never leave the house without at least some form of makeup. I justify my sudden change in taste by reassuring myself that I have simply â€Å"grown up†. I’ve navigated away from my boyish nature in the same way that I navigated away from cartoons and cheeseburgers: It followed the natural order of things. However, despite my reassurances, the real reason behind my change is not becoming â€Å"more mature†. The truth is, I’m scared. I’ve been socialized into this gender role and I know that scrutiny is awaiting me if I ever choose to leave it. I fear breaking gender norms and being subjected to negative sanctions in the same way I fear dark alleys at night. It is a rational fear, in that it protects me from being ostracized and it satisfies a very basic human need: the need to be accepted. Work Cited Steckley, J. , and Kirby Letts, G. (2010). Elements of Sociology. Oxford University Press Canada. How to cite Being a Girl, Essay examples

Definition of Courage free essay sample

Over the past 3 years, Allison has never lost hope, she constantly strives for recovery and right now she is ready to face her results that will have an immense effect on her life. Allison is courageous. Courage is defined as the ability to do something that frightens one. One of the main factors in striving towards success is that of courage. The amount of courage you possess will determine how successful you are in the end. Courage is determination. Courage is bravery. Courage is being dauntless. By pursuing something that you are exceedingly fearful of, you demonstrate a vast amount of courage that most will never come to uphold. Courage is standing up and fighting for our country instead of ridiculing the government and saying war is unbeneficial. Courage does not have to be a grand act such as sprinting into a burning building in order to save numerous lives. An eleven year old kid confronting a vicious bully at school also requires a massive amount of bravery which in turn qualifies standing up for oneself an act of courage as well. We will write a custom essay sample on Definition of Courage or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Courage is shown in any situation where someone is confronting and overcoming anything they are uncomfortable with varying from waiting for life altering results to simply asking a crush out on a date for the first time. Courage is not power. Ruling over someone and making hasty decisions that will affect people other than oneself is not courage, such is confidence in authority. Courage is not fearlessness. Someone who is fearless has no doubts to overcome; therefore there would be no situation where courage could be expressed. Courage is definitely not anger, or rash action. Courage is generally always accompanied by fear, a plummeting gut, and quivering knees. Overall, courage is the seeming weak rising up against a supposed strong. Weather the weak will overpower the strong depends on how much courage the weak is willing to put forth. Weather Allison will recover from her disease depends on how much she is willing to fight against the horrible illness. Courage is an active characteristic that everyone is capable of displaying, but is actually shown by few.

Ernest Hemingway Lived His Life To The Fullest. He Experienced More Th

Ernest Hemingway lived his life to the fullest. He experienced more than any other man. Since not many people traveled as much as Ernest, Ernest shared his experiences in books. In ?The Snows of Kilimanjaro?, ?Hills like White Elephants?, and ?In Another Country?, Ernest Hemingway uses a great deal of dialogue to help the reader identify with the characters in the story to show the reader how he perceives the situation of his experiences. In Ernest Hemingway's short story, ?In Another Country?, a man is shocked by reality when he hurt his leg in World War I. This short story is primarily described with dialogue between the wounded man and other injured patience in the hospital. The short story takes place in Milan, Italy, in the middle of winter, during World War I. The events in ?In Another Country?, that are discussed relate to Ernest's experiences as a Red Cross ambulance driver. One night when Ernest decided to work a longer shift in the trenches, a bomb exploded right next to him. The only thing between Ernest and the bomb was a soldier. Without even thinking, Ernest immediately begin carrying the injured men out of the trench. While Ernest was carrying a man, he was shot in the knee. In ?In Another Country? Ernest describes his experiences in the hospital in Milan. Even though it is never said the narrator in the story is obviously Ernest. The dialogue between the Italian major and the narrator of the story, first is focused on the majors hand injury, and the machines that are suppose to provide the miracle cure for the major's and the narrator's injuries. But what the reader quickly learns is that the major suffers not from the injury of his hand, but the loss of his wife. The machines becomes a hollow promise with unbelievable photographs with miracle cures, but the message is the majors life is empty with the loss of his wife. In the mitts of all the war and wounds, what really mattered to the major was the love of his life. The narrator was told not to marry because he could lose everything which really put back in focus what is in important, the love of ones life. This surprisingly had a great effect on Ernest's life. Ernest was married four times. He could never settle down with just one woman. For that matter, he couldn't settle down anywhere for a long period of time. He was afraid he would grow too attached to something and then lose it. ?A man must not marry...he cannot marry, he cannot marry, if he was to lose everything, he shouldn't not place himself in the position to lose that. He should not place himself in a position to lose. He should find things he cannot lose.? (Hemingway 582) Hemingway practically lived by these words that the major said to the narrator in ?In Another Country?. In Ernest Hemingway's short story, "Hills Like White Elephants", a couple is depicted, primarily through dialogue, in a conflict over an issue which is really never mentioned, but is obviously an abortion. The story takes place at a railroad station in the Ebro Valley of Spain. The issues discussed in the story are amazingly similar to events which haunted Ernest's life. The characteristics of the man portrayed in the story are depictive of Ernest. One prevalent theme within the story "Hills Like White Elephants" is alcohol. The story takes place in a bar at a railway station and begins with a man and a woman sampling various alcoholic drinks which include "cervezas" and "Anis del Toros." It becomes clear that drinking is a major part of the couple's relationship when the woman later remarks, "That's all we do, isn't it. . . try new drinks."(Hemmingway 422) Alcohol played an extremely significant and extensive role in Ernest's life. Ernest commonly visited bars in the morning and would drink throughout the remainder of the day. Ernest's fourth wife, Mary, commented that she and Ernest "drank champagne and brandy always" (Hemingway 422).Ernest's wives would find empty bottles of whiskey under his bed because he would often drink himself to sleep. Alcohol dominated Ernest's life as well as his relationships with women. Travel

Astronomy Homework Question and Answers †Second Part

Astronomy Homework Question and Answers – Second Part Free Online Research Papers Astronomy Homework Question and Answers Second Part #4. Briefly describe the astronomical uses of each of the following: Stonehenge, The Templo Mayor, The Sun Dagger, The Mayan observatory at Chichen Itza, lines in the Nazca Desert, Pawnee Lodges, the Big Horn Medicine Wheel. Stonehenge can show exactly when the summer solstice is, by looking for the sun directly over a specific stone, called the Heel stone. The Templo Mayor is also used to mark the seasons, by watching the sun rise through two temles on the equinoxes. The Sun Dagger is a carved spiral onto which the sun forms a dagger of light only once a year- on noon of the summer solstice. The Mayan Observatory had windows strategically placed specifically for osbservations of Venus. The lines in the NAzca desert may look like well traveled walkways, but some of them are alighned in directions where the Sun or other bright stars are at certain times of the year. The Pawnee lodges had strategically placed holes for observing the passage of certain constellations. The 28 â€Å"Spokes† of the Big Horn Medicine Wheel probably relate to the month of the Native Americans, for they had months of 28 days, because they did not count the New Moon. #9. Who was Ptolemy? Briefly describe how the Ptolemaic model of the universe explains apparent retrograde motion while preserving the ideas of an earth-centered universe. Ptolemy was an ancient Greek astronomer (c. A.D 100-170) who came up with a model of the universe with the earth at the center. His flawed nation of an Earth centered-Universe with regards to Planetary motion was surprisingly accurate. His explained the apparent retrograde motion of the planets by suggesting that the planets moved in smaller circles while they were traveling along their orbits. #14. Describe how Galileo helped spur acceptance of Kepler’s Sun-centered model of the Solar System There were three basic objections that most people had to the Sun centered universe. 1. The Earth could not be moving because objects would be left behind while the earth moved. 2. The idea of non-circular orbits contradicted the idea that the heavens must be perfect and unchanging. 3. Stellar parallax ought to be detectable if the Earth Orbits the Sun. Galileo was able to answer all three objections. First, he demonstrated that a moving object remains in motion unless a force acts to stop it (i.e, why people remain standing in an airplane while it is flying.) Galileo showed that the heavens could change after he built a telescope in 1609, and noticed imperfections in the Sun, moon, and Earth. He assumed that the stars were actually far more distant then anyone had thought, therefore not allowing astronomers like Tycho Brahe to observe stellar parallax. He never actually proved it, he just had very strong evidence in its favor. But the true death of an Earth Centered syst em came when Galileo discorved that there were four moons orbiting Jupiter, not the Earth, and that Venus goes through phases like the moon, and therefore orbited the Sun. Problems #2. The Date of Christmas (December 25th) is set each year according to a lunar calendar. False- The Date is set each year according to the Tropical calendar, having the same number of days in a year, 365, and 12 months. The Lunar calendar has 12 months, but with only 29 or 30 days for each month, and a year of about 354-355 days. Muslims still follow the Lunar calendar, but not Christians. #5. In Science, saying something is a theory means that it is really just a guess. False- A theory is a hypothesis that has passed a broad range of tests and is generally assumed to be true. A hypothesis is an educated guess. Research Papers on Astronomy Homework Question and Answers - Second PartMind TravelThe Spring and AutumnBook Review on The Autobiography of Malcolm XInfluences of Socio-Economic Status of Married MalesCanaanite Influence on the Early Israelite ReligionResearch Process Part OneWhere Wild and West MeetAssess the importance of Nationalism 1815-1850 EuropeIncorporating Risk and Uncertainty Factor in CapitalHip-Hop is Art

Unit 4 a Coursework Example | Topics and Well Written Essays - 500 words

Unit 4 a - Coursework Example The intensity of an ethical issue rests on the effect of a decision to the most number of people—or most number of stakeholders. The more stakeholders are concerned, the greater the scope which is to include the whole society, the more people to incorporate the decision which will determine its acceptability, thus determine its intensity as an ethical issue. In starting up with using an ethical decision-making framework, the stakeholders are first identified. The intensity of the ethical issue rests on the effect to most number of people, which is why it is one of the inputs to be considered. The system in which will determine the output or a decision will be determined by the interaction of the organizational factors and individual factors. For one, the individual factors will determine the values, interests and other personal factors that will influence his or her decision. Apart from these values, the context the organizational factors provide will guide as to what individual values will be acceptable in coming up with a decision. The pressure in order to conform to a higher set of values which is determined by the organizational factors will set the gears of the decision-making process. According to these larger set of values, which of an individual values is seen as more important to be emphasized and taken in consideration when coming up with a decision? The interaction of these will establish a system. The upcoming opportunity to an organization is seen to provide benefits to the organization. The opportunity is considered an input because of the benefits it can provide for the organization. With these benefits, the interests of different stakeholders will be determined, and up to what point an interest will be served by the benefit. As for the equality of the distribution of benefits to different stakeholders, this will be the result of interaction of the

Quiz exam Essay Example | Topics and Well Written Essays - 750 words

Quiz exam - Essay Example ensure that the exercise is conducted smoothly and that chaos from initial misunderstanding among participants is controlled promptly before it causes unexpected consequences (Nagar 52). In the design of a disaster training exercise, there are several ways of introducing chaos. Since those involved in exercise are human, anything that offends them at the start of the exercise may have profound effects on the whole exercise. One way of introducing chaos is creating a wedge between those guiding the exercise and the participants. This may be achieved by restricted communication and adverse personal interactions that may result in communication breakdown. Chaos may be introduced by unfavorable environment for the training exercise such as strenuous exercises for a long period of time and failure to provide enough training facilities. A chaotic environment may further be created when the participants are denied autonomy in making decision concerning the schedule of disaster management training exercises. In this case, the organizers of the exercise remain the custodians of the training schedules and so participants are compelled to act under the whims of the organizers and instructors (Masterpasqua and Phyllis 41). There are several ways in which elements of chaos may be measured. The two basic setting in which chaos is commonly measured are from perspective of specified equations and from a set of data in which a chaotic deterministic process is suspected to exist. The basic tools that literature has established as necessary in measuring chaos are Fourier analysis, Lyapunov characteristic exponents, and the phase space attractor reconstruct basing on data. Basing on the deterministic philosophic approach to chaos, it is easier to predict the factors that may cause chaos but it is difficult to determine the magnitude of chaos that a specific factor may cause. The best way to measure the chaotic behaviors of the participants is through observation. The qualitative

The Use Of Semiotics In The Theatre Film Studies Essay

The Use Of Semiotics In The Theatre Film Studies Essay For the French postmodern theorist, Lacan, each sign in a language is given a meaning by other signs in the language there is no essential meaning to signs, only in chains of significance. For example, Robert Wilson often uses colour to create symbolic meaning in performance through its use, while the Theatre du Complicite may transform objects into signifiers of meaning separate from their every day meaning (i.e. in Mnemonic a chair becomes the Iceman). Address in this essay, how contemporary theatre practitioners use this understanding of the signifier/signified to push the boundaries of the theatre. Through an examination of at least TWO theatre companies, or practitioners either from the reading, or from your own experience, show how they use signifiers in their work and to what purpose. The reason for creating and presenting theatre is to communicate meanings. Understanding how meanings are communicated to and assembled by spectators can be of enormous help to the director as he works to translate his individual vision of the theatre production into a living, three-dimensional work of arts The late twentieth century saw a great of interest in semiotics, the science of the signs. The semiotics in theatre is composed of a representative actions implemented in a certain moment with the emphasis on things and objects to be observed. This sign system has important characteristics which are the relation between signs and themselves as well as the multifunctional and mobility of the signs in the theatrical context. Some theatre artists find out that the spoken word does not need to be the central force of the performance. Therefore they developed performance through experimentation with objects, visual images, sound, improvisation, or pieces of disjointed language or information (Whitemore, 1994). In this essay I will explore and examine the importance of using Semiotics in the work of two important post-modern theatre directors which are Richard Foreman and Robert Wilson as well as I will address how these contemporary theatre practitioners uses the signifier/signified in particular the visual semiotics such as the setting, costumes, lighting, colours and properties to push the boundaries of the theatre and to what purpose. We can begin to explore the sign system of the contemporary theatre by looking at the work of Richard Foreman and Robert Wilson who are considered examples of western directors, Both Their work contributed to the development of the postmodern theatre through their experimentation with theatre and its various communication systems. Foremans work is almost about his life and a reflex on himself and his thoughts; his theatrical wok always commenting on itself which makes the spectators alert and aware while seeing it. The deficiency to communicate with language is one of the main elements that Foremans theatrical pieces focus on. He developed theatrical techniques that relied on visual images. In his works he uses a number of repeated theatrical devices such as using recorded or live voice to comment on the stage action, using exaggerated physical and vocal techniques as well as other visual elements. The use of visual images has become one of his unique theatrical contributions that differentiate his theatre from other contemporary theatres (Hugo, 2009). Also, Robert Wilson has been altering the way of seeing language, staging, lighting, colour, set design, dance and direction. Robert Wilson has been considered as being one of the most significant visionary artists of the 20th century. His work, often called a theatre of visuals or theatre of images presents an artistic field of theatre where precise choreographed gestures, movements, shapes of objects, textures of sound, and lighting aim to create a heightened experience for the viewer. Robert Wilson is known for his creations of extremely big and long epic productions which focus on the theatrical images and are frequently accompanied by music. His productions cut across the boundaries that traditionally have defined theatre, dance, opera and the visual arts to create a total work of art. Wilson began his exploration of slow motion and visual theatre in workshops he ran for autistic and brain-damaged children. In his work, he used essential non-linguistic montage and displaces any univocal signification. He is also a landscape artist who believes that the pioneering of the theatre depend on visual images (Holmberg 1996). Semiotics can best be defined as a science dedicated to the study of the production of meaning in society. As such it is equally concerned with processes of signification and with those of communication, i.e. the means whereby meanings are both generated and exchanged. Its objects are thus at once the different sign-systems and codes at work in society and the actual messages and texts produced thereby. According to the Concise Oxford Dictionary of Literary Terms, semiotics is the methodical study of signs, more precisely; it is the production of meanings from linguistic or non linguistic sign systems. Semiotics began to become a major approach to cultural studies in the late 1960s. The modern theory of semiotics was founded and developed by two important philosophers, Charles Sanders Peirce who defined semiotics as the relationship among sign, an object and a meaning as the sign represents the object or referent in the mind of the interpreter. The system Pierce devised allows for a simple technique for reading and understanding signs through three categories: symbol, index and icon. A symbol has an arbitrary relationship to the audience. As by adding a vocalisation or gesture such as pointing, the meaning is easily understood by an audience. In pointing we have added a depth to the word, given it meaning, and thereby forced an interpretation onto the audience. Indexes are easier si gn systems to read. They take the form of pictures/illustrations. We understand an icon as the resemblance of something it is a representation and not a reality. And the second, Ferdinand de Saussure who proposed that linguistics would form one part of a more general science of signs: semiology. His definition was that semiotics is a science capable of understanding all possible systems of signs, from language to music and, of course, the visual arts. Semiology therefore aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification. (Chandler, 2007) Semiotics is concerned and focuses on the interrelationships between signs themselves. The semiotic approach to literary works stresses the production of literary meanings from shared conventions and codes; but the scope of semiotics goes beyond spoken or written language to other kinds of communicative systems such as cinema, advertising, gesture and others. In other words, semiotics is the study of signs and symbols of all kinds, what they mean, and how they relate to the things or ideas they refer to. It is concerned with the process of signification and communication. Semiotics is well known for calling attention to the formal structures of significance and meanings in the culture. Semiotics can be seen as an important factor that points to structural differences found in each system of signification as well as it is seen as a unifying approach to sign systems in the theatrical performance. A sign is usually represented by different type of physical image, object or person, which is then placed within some specific setting or social framework. Due to this framework, this physical image, person or object becomes representative of the social signs system and the audience become responsible of determining whether or not the sign being placed before them is genuine (Leaman, 2007). Moreover, it can be visualized as an approach to a wide variety of systems of signification and communication or it can be visualized as a description of those various systems focusing on their mutual differences or their specific structural properties such as the transformation from verbal language to gestures or from visual images to body positions. It can investigate those various systems either at the elementary level of their sequential units such as words, colour spots, sounds or at the more complex level of the texts which is, narrative structures or figures of speech (Eco, 1977). Semiotics is important because it can help us not to take reality for granted as something having a purely objective existence which is independent of human interpretation. It teaches us that reality is a system of signs. Art historian Keith Mosley comments that: Semiotics makes us aware that the cultural values with which we make sense of the world are a tissue of conventions that have been handed down from generation to generation by the members of the culture of which we are a part. It reminds us that there is nothing natural about our values; they are social constructs that not only vary enormously in the course of time but differ radically from culture to culture(Schroeder, 1998). Studying semiotics can assist us to become more aware of reality as a construction and of the roles played by ourselves and others in constructing it. To decline such a study is to leave to others the control of the world of meanings which we inhabit. Signifier/signified Signifier and signified together, they constitute a sign, the basic object studied by the science of semiotics. The signifier is any material thing that signifies. It may be a meaningful sound, a facial expression, a picture, or a more complex unit such as a word or phrase. The signified is the concept that a signifier refers to. Each sign thus gains its value by being placed in the context of other signs. The relationship between signifier and signified is traditional, there is no existence of similarities or physical connection. (Dor, 2005). According to Erika Fischer-lichte- theatre professor- (1992) Theatre does not make use of these signs in their original function, i.e., does not put them to the purpose for which they are/were generated by the respective cultural systems. Rather, it deploys them as signs of the signs produced by the cultural systems. Consequently, theatrical sign must, at least at the level of the system they form, be classified exclusively as iconic signs  ¹ . We make meanings through our creation and interpretation of signs. As according to Peirce we think only in signs (Peirce, 1931). Signs take the form of words, images, sounds, acts or objects, but such things have no essential meaning and become signs only when we invest them with meaning. Nothing is a sign unless it is interpreted as a sign (Peirce, 1931). We interpret things as signs by relating them to familiar systems that we understand and agreed on. A sign is a recognizable combination of a signifier with a particular signified. You cannot have a totally meaningless signifier or a completely formless signified (Saussure, 1983). The same signifier could stand for a different signified and thus be a different sign (Chandler, 2007).  ¹ Signs where the signifier resembles the signified Elaine Aston and George Savona (1991) argue that Everything which is presented to the spectator within the theatrical frame is a sign as the Prague school  ² were the first to recogniseà ¢Ã¢â€š ¬Ã‚ ¦The process of signification is directed and controlled even is something has arbitrarily entered into the frame it is read as significant. Several semioticians have recognised the role of the systems of signs that are used during a theatrical performance as it to communicate with an audience as was mention before everything that is presented to an audience in a theatrical context is consider to be a sign. The value of semiotics for the theatre practitioners is that it can provide a framework for structuring experimentation during the preparation, and rehearsal stage of creating the production. Theatre directors coordinates signifiers and make thousands of choice; they select individual signs and blend them into sequences of signs which lead to large pattern of signs which eventually produce a performance. They also highlighting and emphasizing on different signs to bring the spectators attention to the most important signifiers at a specific moment in the performance (Whitemore, 1994). According to Tadeusz Kowzan (1968) -who is Theatre and literature historian- classification of sign systems, there are two main signs systems, the auditive signs which include the spoken text as words, tones and the inarticulate sounds as music and sound effects and the visual signs which include the expression of the actors body as gesture, movement and actors external appearance as the makeup, costumes and the appearance of the stage as the props, setting, lighting.  ² It was an influential group of literary critics and linguists in Prague. Its proponents developed methods of structuralism literary analysis during the years 1928-1939. It has had significant continuing influence on linguistics and semiotics. After World War II, the circle was disbanded but the Prague School continued as a major force in linguistic functionalism. Contemporary theatre practitioners push the boundaries of the theatre Semiotics in theatre formulated from a complex relationship between images and their meanings to the theatre practitioners and the spectators. The contemporary theatre practitioners find semiotics to be an important science as it considers being an aid of communication between the director or the scene designer and the audience, this communication relies on understanding the image and its context in order to bring out meanings. Then by emphasising on any element of this image the sign will be created and that will lead to the creation of new meanings, All this helped the theatre practitioners to find new ways to open up new prospects of representation through work on the theatres systems of signification such as the representations in acting style, costumes, properties, music, lights, visual design and other elements which is treated as a signifying elements (Finter I983). Emphasis is defined as the subject of audience interest at any given moment of the performance. In other words, the element of the theatrical scene that receives the attention of the audience is the one that is emphasis on. Theatre directors pay close attention to the use of emphasise in the theatre in order to focus the attention of the audience on selected characters, places, or effect (Whitemore, 1994). According to Elaine Aston and George Savona (1991) The director nowadays has control over the theatrical shape and is faced with the task of organising the signifying system of theatre at her/his disposal (lighting, scenery, props and so on) into a codified process appropriate to the production of a text. If the director fails in this task, then the performance will not make scenes to the spectator. Visual sign systems are used by theatre directors in a wide range of configuration to produce signification and meanings. And may be the most remarkable feature of postmodernist directing is the concentrated use of visual signification as pivotal signifier (Aston E G Savona, 1991). Richard Foreman Visual aspects are considering an essential aspect in Richard Foreman theatre. His theatrical ideas created from the influence of images conception as well as the visual elements. With the help of those visual elements, he tried to frame and break up space. His use of lines and objects has a role as important in his theatrical space as the role of the performers. Such objects are reflections of Foremans consciousness as well as reflections of the structure of thought. In the traditional theatre, the impact of the visual elements on performers is different than its impact in performances that filled with different visual elements and objects. Foreman focuses in his work on building multiple layers in the performance. He used visual images that represented the writers view while, in the same time the performers and objects expressed another level of this view (Lee, 2001). The uses of setting and props in Foremans theatre The important aspect in Richard Foremans theatre is how he uses properties as signifiers. His sets are littered on his stage without clear explanation as well as he always uses a variety of props of all sizes, styles, and shapes. For example, in some of Foreman performances, he has placed television monitors onstage to provide multiple images. He also uses projected images for the text of the performance as a way to use written words with spoken words in order to contradicting, questioning, or strengthen other visual or aural signifiers (Whitemore, 1994). Foreman designed his stage with the use of vertical and horizontal lines. The use of ropes and strings stretched across the stage to create special effects that frame his performance to help him to provide multiple visual paths that allow each spectator to achieve a unique perception of the stage. Because of the strings, each member of the audience is able to perceive varying degrees of stage depth (Lee, 2001). The uses of strings functioned to increase an awareness of the reverberation chamber aspect of the stage space, to create a certain amount of ambiguity through suggested superimposition, and to remind you of the limits of the geometric space. I was using the strings to contradict a unitary reading of the stage space (Foreman, 1992) Another important aspect of his stage objects comes from his usual attempt to distort the shapes of the objects. By using distorted stage objects, Foreman creates new phenomena out of once familiar objects (Lee, 2001). Foreman exaggerates his theatrical objects in various scales. His designs to many of the objects is to be either smaller or larger than life-size for example, the big rock in his performance Hotel China and the 6-foot-tall potatoes in Rhoda in Potato land. Moreover, he uses stage objects to lead him through the development of the dramatic action of the performances text. Foreman said that with Hotel China I began to write plays by imagining intricate, strange objects that would suggest ways that desire, working through the performer, might cause them to be manipulated. I stopped working from outlines, and instead let the complicated physical objects that I imagined lead me in whatever direction they suggested. Properties and objects take on such a strong focus for Foreman that he even uses them as a starting point for creating the written text for his performances. How Richard Foreman used costumes and colours in his performances In his early years Richard Foreman chose to let chance dictate costuming as a sign system. In Foremans performances, the uses of costumes as a signifier is not a habit, he worked on creating visual dissonance and psychological tension in his performances which led him to contrast the setting and the text of his performances with the simplest costume in the world which is- from his perspective- nudity.Foremans individual costume choices become part of rich grid of signifiers (Whitemore, 1994). In his performance, Rhoda in Potato land he used a tangle setting, bright lights, performers in clothing, and a nude woman lying down on the floor. In spite of the conflicting signifiers in this theatrical scene, but it led to a formation of a connected unit of signifiers for the audience The use of colours is very important in Foreman performances. As Whitemore (1994) argues, Colours are dynamic signifiers; when chosen carefully they bring coded messages to the spectators for their individual interpretation. Foreman uses simple lines and basic colours such as black, gray and white in order to create abstract images. He feels that simple and basic colours creating the unfocused kind of attention and promoting meditation which he is aiming for (Davy, 1981). In his theatre, he sense that individual objects will become isolated by individual colours rather than be seen as aesthetically unified (Whitemore, 1994). In summary, Richard Foreman treats his stage objects as live performers. Part of the performers role in his performances has been shifted to the stage objects. Instead of the performers actions, visual images became signifiers which rose by these stage objects dominate the stage space. Foremans visual imagery is considering a principal element directly affecting the audiences attention. He extracts images from actors and from theatrical objects in his work by using different techniques such as, his uses of different size and shapes of objects as well as his uses of ropes and strings in performances in order to break the familiar concepts and provide multiple visual paths that allow each spectator to achieve a unique perception of performance, his uses of nudity costumes as a way to demolish and build new signifiers also the uses of monochrome colours in his work as a mean of creating unfocused attention and promoting meditation. Robert Wilson My purpose in this method of working is to emphasize the importance of each separate element. In many of my pieces, what you see and what you hear do not go together. The video and the audio are meant to stand on their own. If you closed your eyes you would still be able to appreciate the program, and the same would be true if you turned off the sound and just looked. What I am trying to do is give individual lives to both sound and picture. Robert Wilson One of the most salient aspects of Wilsons work is the broad and disparate range of material visual and verbal he weaves together. He scavenges from innumerable centers of culture: canonical literary texts; newspapers; opera; pop songs; advertisements; stock market reports; cinema; dance; historical documents; autistic poetry; paintings by old masters and new; architecture; industrial design; the drawings and body language of a deaf-mute boy; sculpture; postcards; and the banal conversations he overhears on the street. Leafing through one of the black notebooks in which Wilson sticks anything that tickles his fancy is to confront a higgledy-piggledy mass of incongruous images. For example, much of the language and many of the images in Einstein on the Beach are pillaged from the debris of mass culture. All of these heterogeneous materials create a centrifugal energy, but Wilson controls them through his monumental architectural sense of visual structure (Holmberg 1996). The uses of props and objects in Robert Wilsons theatre Robert Wilson usually selects and designs properties with large-scale settings and with the uses of huge space to suit his characteristics of a highly selective method of visual communication. He not only designs the props himself but often takes part in their construction as well. Whether it is a piece of furniture or an object such as a giant crocodile, a large black crow sitting on a womans arm, long thin ladders reach high into the fly tower and many others (Holmberg 1996). He used different shapes, size, colours and style while designing his props and objects. He used the exaggeration technique in some of these objects as well as the realistic and abstract style and many other techniques. But when combined these objects with all the other visual elements of Wilsons productions it present a unified network of dynamic optical that dazzled the audience (Whitemore, 1994). The importance of costume Costume for Robert Wilson is considered to be one of the significant aspects in his theatre. He uses costumes for every kind of signification possible. Wilson constantly chose every costume for his performances very carefully in order to fulfil its visual impact. Many of the costumes he uses in his performances are realistic and many are satirical. For example, his epic performance, Death Destruction and Detroit II, are groups of costumes from unrelated periods with different styles, sizes, shapes, lines and colours. The audience see large dinosaurs, an huge round man in a white suit and a woman in a magical lights dress. In his other performances he used different kind of animals such as a giant cat that is so large that only his legs can be seen walking across the stage, dancing ostriches, a child in a diaper, a man in an oversized, padded-shouldered trench coat, soldiers in various uniforms, and many other costumes (Whitemore, 1994). The costumes are made to reveal movement and style and to signify every kind of information: period, mood, style, and emotional state of the character. He always chooses his costumes, the sizes, shapes, colours, and styles almost randomly and instinctively but with taking into account the unification the total performances signifiers. The costume signifiers are mixed, compatible and contradictory at the same time as black and white, giant and tiny, rough and smooth but at the same time, when it all combined with the set, properties and lighting they present global signifiers of epic and spiritual consequence for the spectators to gather into meanings (Whitemore, 1994). The uses of lighting According to Wilson, the most important part of theatre is light as well as the light is the most important actor on stage (Holmberg 1996). He is also recognized by some as the greatest theatre lighting artist of our time. Wilson found a way to use light as the central signifier, replacing the performer, as in one of the scenes in Einstein on the beach when the light displaced the actor and became the action for nearly half an hour. Wilson is very concerned with how images are defined onstage, and this has practically everything to do with the light that is placed on a given object. He feels that the lighting design can really bring the production to life. Tom Kamm, The set designer for Wilsons Civil Wars performance said a set for Wilson is canvases for the light to hit like paint (Holmberg 1996). This attention to detail certainly proves his devotion to the importance of lighting, In Death Destruction and Detroit, Wilson used light as a defining signifier of the theatrical scene. T hrough a constantly shifting black and white, shadow and bright this shifting served as a dominant unifying and controlling agent (Whitemore, 1994). In summary, Robert Wilson has a massive contribution in the contemporary theatre practice. He is considering one of the most important directors and designer in the contemporary theatre. Wilson revolutionized the stage by making visual communication more important than words. His productions cut across the boundaries that traditionally have defined theatre, dance, opera and the visual arts to create a total work of art. Wilsons performances concern not only for trespassing the boundaries that define artistic genres but also for erasing the distinction between high art and popular culture, forcing the audience to examine the assumptions behind these categories (Holmberg 1996). Robert Wilsons productions have decisively shaped the look of theatre. Through his use of light, costumes, props and setting as well as his exploration into the structure of his scenic and furniture design he was able to achieve his goal in changing the concepts and perceptions that related to the fixed culture. Wilson always uses the power and originality of his vision in order to create new meanings and perceptions for his theatre. Conclusion In summary, the theatrical system of signs consists of representative actions implemented in a situation with an emphasised function of objects to be observed. The power of sign systems depend on their role in generating and maintaining shared expectations as well as shared interpretive frameworks. Signs do not force us to have certain interpretations as much as they create the context for other peoples interpretations of us, and even more importantly, our own expectations of what others think. Contemporary theatre practitioners, in particular the two important directors Richard Foreman and Robert Wilson, emphasise on visual images and focus on size, shape, colour, costumes, light and other visual elements in order to create and develop a way to affect the audiences way of seeing, thinking and understanding of actions and events. Using semiotics in theatre helped the directors to see the various cultural and historical traditions as a vast source of signs. Representations in acting style, costumes, production design, music and other elements are taken from different contexts.  Also it helped them to understand how performances communicate meanings by examining the signifiers that are decoded by each member of the audience. Semiotics gives the directors a frame work for making choices about which sign system should dominate the performance, how signifiers can create meaning which the spectators interpret differently. They are asked to read the visual diminutions of performance as a key language of the theatrical discourse.