More Than Just a Story Essay Example for Free

Something other than a Story Essay Joanna Bartee’s basic article of Kate Chopin’s short story, The Storm, keeps up that the whole story is a symbolic gander at woman's rights and sexual reservations in the Nineteenth Century. She keeps up that the tempest is an analogy for the repressed sexual vitality that comes full circle in an extramarital undertaking while Calixta’s spouse and child brave the real tempest at a little grocer’s store close by. Bartee calls attention to that Chopin was in contact with her own sentiments in regards to sexuality and through this story she had the option to communicate her perspectives however she decided not to make them known through distribution in the course of her life. Freud said that occasionally a stogie is only a stogie; the inverse is additionally obvious. Bartee makes a viable contention that her evaluation is right by support up her sentiments with appropriate squares of exchange from the story and by essentially calling attention to the self-evident. To start Bartee says that the title of Chopin’s short story has a double significance, and however the story unfurls during a seething tempest, the tempest of the title is illustrative of curbed human female sexuality. While Alcee goes to the home of Calixta looking for asylum from the tempest it is progressively an explanatory gadget to empower the plot to unfurl as it does. The physical tempest is immaterial to the genuine subject, which is sexuality and human want. Bartee says that at first the story starts with simply the realities that can be gathered from a read, accepting the peruser is fit for taking a touch of scope. She reveals to us that the two principle characters, Calixta and Alcee, were once sweethearts and have now met in the here and now of the short story, during an incredible tempest. She is adding more to this appraisal than is really said in the story when she announces, â€Å"†¦Calixta and Alcee, had a tease quite a while before the story happens, yet each made an increasingly appropriate union with another person and they have not seen each other since,† (Bartee). It is known from the story that they had a tease yet with respect to each making a progressively worthwhile marriage, that is by all accounts hypothesis. Joanne Bartee’s paper tends to the title, saying that ‘The Storm† is analogy for the repressed interests of a Victorian period. It appears to be intelligent this is the situation, for the creator parades it at each chance. She says, â€Å"They didn't notice the slamming deluges, and the thunder of the components made her snicker as she lay in his arms,† (Chopin II-20), to portray the enthusiasm of the two. At that point she says, â€Å"The downpour was finished; and the sun was transforming the flickering green world into a royal residence of pearls. Calixta, on the exhibition, watched Alcee ride away,† (Chopin III-1) to portray the splitting of the two, saying that the tempest of enthusiasm had ebbed. Bartee cites pundit Robert Wilson too, saying that Wilson accepts, Chopin’s title alludes to nature, which is emblematically ladylike; the tempest can subsequently be viewed as representative of female sexuality and energy. † Bartee brings up that Claxita is the quintessence of family life as the story opens, absolutely ignorant of a looming storm. This tempest won't just be the one of nature but instead the tempest of her repressed wants, discharged when her previous lover shows up out of the blue. She is sewing, while her husband’s Sunday garments are airing out on the patio. Bartee accepts this is an inference to amiable and legitimate society in that Sunday garments can be interpreted as meaning those garments that her significant other would wear to chapel, joined by his better half and kid. From the get-go in her investigate Bartee says that the whole short story is loaded up with outlines of how the tempest is the main impetus and primary subject of Chopin’s story. She additionally brings up that the story was distributed after death, years after the fact, showing, maybe, a hesitance to impart her perspectives to a Victorian open, trusting it was too realistic to even think about being perused with her name connected to it. While it is gentle by today’s norms, at the time that it was composed it more likely than not been viewed as somewhat scandalous to have a lady creator put her name to a story to clearly brimming with mystery sexual wants and interests as well as unfaithfulness and infidelity. The possibility that the tempest passes similarly as the tryst is finished and Alcee is riding way is absolutely a sign that the characteristic tempest and the tempest of interests, which have clearly been satisfied, are very much the same. Bartee calls attention to that Calixta’s spouse, Bobinot, carefully holds up out the tempest at the general store similarly as he keeps away from the interests of wife too. He knows about what the normal tempest can do and doesn't expect to let it player him, in like manner, Bartee says, he knows about the interests of which his significant other is proficient and he doesn't intend to permit himself to be battered that the passionate tempest blending in his wife’s mind. Bartee accepts that Bobinot knows about the circumstance, however this is by all accounts guess on her part. If so then Bobinot is escaping the interests of a spouse by shirking, and there isn't sufficient data given to make that guarantee. Bartee brings up the conspicuous with lucidity and the majority of what she says appears to be consistent, however now she gives off an impression of being taking a jump of creative mind that isn't advocated by the content of Kate Chopin. Calixta appears to be substance to do her familial tasks, keeping an eye on her home and seeing to her husband’s garments. Bartee says now that a large number of the errands that she needs to do are done in clear disappointment and are additionally images of the sexual restraint of this Nineteenth Century homemaker. This might be the right appraisal as Chopin says that Calixta, â€Å" †¦ detached her white sacque at the throat. It started to develop dim, and abruptly understanding the circumstance she got up swiftly and approached shutting windows and door,† (Chopin II-1). This, Bartee infers, is the anticipating that an awful tempest is going to blow, and it might overpower her. She is cautious of how terrible it will get and avoids potential risk to shield her home from the moving toward storm. Bartee doesn't address the imagery characteristic in the activities of Calixta during the underlying gathering of the two previous underwear. Alcee requests authorization to take cover on Calixta’s patio, however the two of them rapidly understand that such safe house is absolutely ineffectual against the anger of the tempest, which, clearly now isn't just alludes to the climate yet more distinctly, to the seething feelings starting to work in the man and lady. When Calixta welcomes Alcee into the home of her family it is for all intents and purposes a change in outlook in her disposition toward both the past love interest and to her obligations as spouse and mother. â€Å"He communicated an aim to stay outside, yet it was soon obvious that he should have been out in the open,† (Chopin II-5). The two at that point think that its proper to ‘put something under the door’, to additionally separate them from the outside world. The portrayal of her husband’s apparel, private belongings, which cover and ensure a man, are uncovered outside the home. There is a genuine chance that they can be lost, harmed or devastated, similarly as her marriage can be lost, harmed or pulverized by her enthusiastic tempest of enthusiasm. This imagery of them hanging outside, presented to the components, Bartee says, is emblematic of the risk that Calixta feels concerning the methodology of the tempest. He husband’s private belongings are at risk for being devastated or lost. Bartee composes, â€Å"They are at risk for overwhelming from the solid breezes that are drawing closer with the storm,† (Bartee). Alcee snatches Bobinot’s pants, which, Bartee says Wilson depicts as a disruption of the requirements which Calixta, as a wedded lady, ought to feel. Bartee in like manner accurately surveys the portrayal Chopin parts with the peruser of emblematically putting a cotton sheet. This sheet, covers a marriage bed, is in sight when Alcee shows up, however as the two characters talk, Calixta distinctly puts the sheet far out, and, if could be deduced, out of psyche. Bartee doesn't make reference to that the creator depicts the view she has of the marriage bed itself and that Calixta knows that the son’s resting lounge chair are in see also. This could likewise be taken as representative of the personal impression Calixta is allowing a virtual more interesting, an untouchable to her family, to have of her home and private life. Chopin portrays the scene consequently, â€Å" The entryway stood open, and the live with its white, fantastic bed, its shut shades, looked diminish and mysterious,† (Chopin II-9). Bartee’s assessment is that in emblematically taking care of the cotton sheet, an object of home life, getting it out of their sight, Calixta is presently emblematically clearing her psyche, evacuating any obstructions that may hold up traffic of the two as they move unyieldingly toward the unavoidable enthusiastic association toward which the story has been driving. Bartee cites lines from the story saying that not exclusively do the two darlings do not have any regret, they feel reestablished and stimulated by their demonstration. Bartee says, â€Å"Chopin composes, So the tempest passed and everybody was glad. † Bartee doesn't specify what is by all accounts in excess of an easygoing remark quickly before that line. Chopin’s penultimate line peruses, â€Å" Devoted as she was to her significant other, their close matrimonial life was something which she was more than ready to forego for some time. † This alludes to the spouse of Alcee, who, it appears, albeit ignorant of the subtleties of the tryst and the tempest, has benefitted from it. The way that everybody is glad should subsequently incorporate Alcee’s spouse, and she is briefly eased of the more commonplace of her ‘wifely duties’. In any case, Bartee makes a viable contention that her view is right by support up her creations

20 Criminal Terms You Should Know

20 Criminal Terms You Should Know 20 Criminal Terms You Should Know 20 Criminal Terms You Should Know By Maeve Maddox DISCLAIMER: This is an arbitrary rundown of every now and again heard terms that identify with crimes. It isn't extensive. It isn't to be translated as lawful counsel. In the event that you need solid legitimate data, converse with a legal counselor who specializes in legal matters where you dwell. Extensively, U.S. law perceives two sorts of wrongdoing: offense and lawful offense. Only one out of every odd state concurs with regards to the arrangement of misdeeds and lawful offenses. For instance, in certain states household misuse is a crime; in others its a lawful offense. In any case government rules decide the distinction between a lawful offense and a wrongdoing as far as discipline: a wrongdoing rebuffed by detainment of a year or less is a crime. 1. illegal conflagration: From Latin ardere, to consume (pp. arsus). Purposefully harming a structure with fire or explosives. 2. robbery: The wrongdoing of breaking into a house with expectation to submit burglary. Until some time back this charge happened just if the criminal broke into the house around evening time. 3. wrongdoing: from Latin crimen, charge, arraignment, offense. A demonstration deserving of law, as being illegal by resolution or harmful to the open government assistance. Lawfully, a wrongdoing comprises of two sections: actus rea, the criminal activity, and mens rea, the criminal aim. 4. household misuse: any demonstration or compromised act against an individual with whom a close connection exists or existed, for instance, life partner, kid/sweetheart, kid. 5. theft: from Anglo-Fr. embesiler to take, cause to vanish. An individual who appropriates to individual use cash depended for another reason submits misappropriation. 6. lawful offense: as a term in precedent-based law from Old French felonie, underhandedness, insidious, foul play, treacherousness, wrongdoing, remorselessness, sin. Thing: criminal; descriptor: felonious. 7. fabrication: The production of a bogus composed report or modification of a certified one, with the plan to cheat. 8. human dealing: the wrongdoing of dislodging individuals with the end goal of abusing them. 9. seizing: a compound of child (slang for youngster and snooze, a variation of catch, to grab away. The word originally alluded to the act of taking kids or others so as to give hirelings and laborers to the American states. In current utilization, the wrongdoing of hijacking is the kidnapping of an individual of all ages with the goal of holding the individual for deliver or for some other reason. 10. burglary: from Latin latrocinium, theft. The felonious taking and diverting of the individual merchandise of another with purpose to change over them to the takers use. The contrast between great theft and petit burglary is one of the worth (as characterized by rule) of the taken property. 11. homicide: from Old English mann, person+slaeht, demonstration of executing. Homicide is the unlawful executing of a person without pernicious plan. Deliberate murder is submitted in the warmth of enthusiasm, or while submitting another lawful offense. Automatic murder is the aftereffect of mishap, for example, vehicular homicide. 12. moral turpitude: turpitude is from a Latin word meaning abominable, revolting, base, dishonorable. Characterizing the term from a legitimate perspective is a tricky endeavor. Wrongdoings of good turpitude include: murder, willful homicide, assault, aggressive behavior at home, prostitution, misappropriation, illegal conflagration, pay off, blackmal, prevarication, and burglary. 13. murder: from Old English morã °or. mystery murdering of an individual. Murder is purposefully causing the passing of another, either through premediation concentrated on a specific individual, or by extraordinary lack of concern to human life. First degree murder is characterized by government and state laws, which shift. 14. prostitution: from Latin prostituere, to open to prostitutuion, to uncover freely. Commission of a sex represent cash or some other thing of significant worth. 15. getting: tolerating property for use, resale, or removal that is thought or known by the collector to have been taken. 16. theft: from Old French rober, from a Germanic source significance to ransack, ruin, loot. Burglary is robbery dedicated transparently and with power. 17. following: With the sense seek after covertly, the action word tail originates from Old English stealcian, as in bestealcian to take along. An early significance of stalker was one who sneaks for the reasons for burglary. In todays use, following is a wrongdoing that includes the deliberate and continued after and harrassing of someone else to the degree that the focused on individual feelings of dread substantial mischief. 18. burglary: denying another of property. Burglary infers trick, while theft is the open taking of property. Theft is submitted when the cheat breaks into a structure: 19. conspiracy: AngloNorman treson from a Latin word meaning a giving over, give up, and affected by Old French trair sell out. Treachery is the wrongdoing of agreeing with the foe, either to battle against ones own nation, or to offer guide and solace to the foe. 20. trespass: from Old French trespasser, to go past or over. Trespass is entering anothers property without authorization. On the off chance that it is with an unlawful expectation, its a wrongdoing. Illicit dumping is a type of trespass. Need to improve your English shortly a day? Get a membership and begin getting our composing tips and activities day by day! Continue learning! Peruse the Vocabulary classification, check our well known posts, or pick a related post below:75 Synonyms for â€Å"Angry†On Behalf Of versus In Behalf Of5 Keys to Better Sentence Flow

Business Performance Measurement and Management - An Example Paper

Business Performance Measurement and Management - An Example Paper Business Performance Measurement and Management An Example Paper In the summary of the book “Business Performance Measurement and Management” it defines performance measurement as the set of metrics used to quantify both the effectiveness and efficiency of actions. Performance measurement is also defined as the language of progress for the organization. It is a plan, which indicates where the organization is and where is heading. In this regard, it functions as the guide to whether the organization is in the route of achieving its goals. In addition, it is a powerful behavioral tool, since it communicates to the employees, what is important and what matters for the achievements of the organizational goal. A central role was given to these systems and a later emphasis given to the PMS effectiveness in the performance process. Due to this, it is vital to understand the evolution of PMS as a performance management and measurement (PMM) tools that are key to the continuous improvement of performance, deployment, and diffusion of strategy, definiti ons, to the operations alignment with strategic objectives, to managerial development and to the learning of the organization. Measuring performance Performance measurement is an important process of making sure that the organization meets its set goals. It helps to determine effective management strategies, budgeting, locating the areas that need to be improved, and determining areas with potential for collaboration. When performance is not measured, the company cannot place value of management activities and the employees activities. Performance measurement ensures that the annual reviews of employees and managers are given meaning. The performance must also be measured to understand how an organization compares with its competitors. Tools of measurement Some of the tools used for performance measurement include employee and organizational performance evaluations. Some of the enterprises have the tools included in the systems while others are stand-alone programs (Neely, 2007). Despite the tools used by the organization, it must adhere to the guidelines. Evaluations of organizations For the information of the organization, the main aim should always be on the performance of the agency, but should include the output, input, process and benchmark factors as well as having comparative guidelines for analysis. The outcomes must relate directly to the public purpose of the company. In this regard, there is effective, which tries to analyze the question: was the organization able to give the desired results? Secondly, Cost effective which states that when outcomes are divided by inputs, how effective and efficient was the organizations performance? And then thirdly, the impact, which analyses the value provided by the organization. Lastly are the best practices: it evaluates the internal operations, what are the organizational performance and political expectations? How can the actual performance be compared with the benchmark of the past performance? Employee evaluations The evaluation of employees should be done on an annual basis. This is important because everyone in the organization understands when there would be the next evaluation and this process gives the company a comparable history to measure performance. A strategy must always be in to handle the performance evaluations that are not acceptable. In case it is a management evaluation, will there be a need for team reorganization? Should more resources be used to increase the company performance, or more the resources present in the department where they will be more effective? In regard to the performance of employees, for employee performance, there must be standards in place that give the corrective action and expected performance that will take place whenever one employee does not perform to the specifications. When management and employees understand what is expected from them, the chance of HR issues will be reduced because of corrective action.  In the past years, it has been highligh ted by literature that PMM could play a crucial role in managerial development in small and medium enterprises (SMEs). However, some of the researchers pointed out that, despite the general models being used correctly; they would not be enough for the specific characteristic of SMEs. In particular, the approach of SMEs to the performance measurement and management is mainly informal, not based or planned on a predefined model, performance measurement is introduced in solving specific problems and performance measures grow of this spontaneous process rather than as a result of planning. Moreover, SME’s planning is usually absent or limited only to the operation levels where performance is measured. However, the performance measures usually focus on the past activities. The main aim is to get all the information needed in support of controlling the activities that forecast and plan processes. Consequently, SMEs does not take advantage of the PMM implemented as a holistic tool attained in planning the strategies and the establishment of strong linkages from strategy to operations. There is a problem because there is no based investigations survey of the current practices that relate to implementation and the use of PMM in SMEs. For this gap to be filled, an exploratory survey was carried out in 2009, which was aiming to investigate the characteristics of the PMM practices in the Italian SME context. The goal of the research that was presented in the book was to contribute the understanding of the adoption and the use of PMM in SME’s, section attention in organizat ions PMM systems, the presence of a PMM system in the companies, how the PMM systems are designed and the use of performance indicators.

Theme Of Harrison Bergeron - 806 Words

Ever thought about everybody being equal? In the story, â€Å"Harrison Bergeron† by Kurt Vonnegut Jr. is about a family who had to have at least one handicap on them, only because they were smart, looked good, or even athletic. The setting takes place in the future of 2081. Therefore their government was ruling everybodys life and body. Only because they were in one way superior from other people. They would also harm the people physically and mentally one is they would have the athletics wear like a fifty pound weight and overly intelligent would wear a handicap that would affect them to slow their brain. His thoughts fled in panic, like bandits from a burglar alarm.†That is only one of many handicaps that they would put on people because†¦show more content†¦This connects to the theme because it is showing that he does not give up on the way he is. ` In the middle, afterwards they were in the living room watching tv when a buzzer had hitting Georges head and caused him to forget what he was doing or seeing. Then George and Hazel were talking and Hazel said something like if she was the handicapper General she would try to get their son back.Not to mention when they were watching they saw and heard that their son had escaped jail. In addition, Harrison when to the ballerinas Stadium and the ballerinas had to wear heavy weights because they were better dancers than normal people are. A evidence that supports my theme ¨Harrison plucked the mental handicap from her ear, snapped off her physical handicaps with marvelous delicacy. Last of all he removed her mask ¨. That supports my theme because its showing that Harrison does not care that he is overly intelligent or athletic he wants to be him without being hurt physically. He just wants for everyone to be with him that hurting innocent people only because they want people for al l to be equality All due to the 211th,212th and 213 amendment. He is trying to make other people realize that they should not wear the devices that hurts them in many ways. Lastly, Harrison was on live tv and he started to command stuff and one important thing he knew that the Handicapper General was there Diana Moon Glampers . Harrison started to dance with one of theShow MoreRelatedHarrison Bergeron Theme Essay852 Words   |  4 PagesKurt Vonnegut’s unique story â€Å"Harrison Bergeron,† displays a theme which is a warning about the dangers of equality, which is equality is a hindrance to an individual’s success and society’s success, but this hindrance is ironically, unequal. In the story, Harrison and his bride are arrested for their unwillingness and inability to stay within the bounds of equality enforced by the Handicapper General. Equality hinders the success of an individual like the weights hinder the beauty and grace of theRead MoreHarrison Bergeron Essay Theme862 Words   |  4 PagesHarrison Bergeron Essay The year is 2081, and Harrison Bergeron is a boy living in a society where all the people must be equal. The government is brainwashing everyone to believe that’s true, but Harrison sees what’s really happening. He is one of the smartest people in the society, but thats what gets him into trouble. Because he is so smart the government believes he wants to overthrow them. They take him away from home and put him in jail. The theme I pulled out of this story is one that weRead MoreTheme Analysis : Harrison Bergeron907 Words   |  4 PagesPeggy S. Little Professor LaGuerre ENC1102 18 September, 2016 Theme Analysis: Harrison Bergeron In the literary piece â€Å"Harrison Bergeron† by Kurt Vonnegut, we enter a futuristic dystopian society in which all citizens have been forced into equality by a government that rules with corrupt omnipotence. From the very beginning of his hauntingly prophetic tale, Vonnegut lures us in by revealing what our society has devolved into at the hands of the wrong system in power. In the name of equality, theRead MoreTheme Of Literary Devices In Harrison Bergeron1116 Words   |  5 PagesESSAY TITLE Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, â€Å"Harrison Bergeron† by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliantRead MoreThemes of Hope in The Hunger Games by Suzanne Collins and Harrison Bergeron by Kurt Vonnegut1095 Words   |  4 Pagesit our life is directionless. The two dystopian works, The Hunger Games by Suzanne Collins and â€Å"Harrison Bergeron† by Kurt Vonnegut demonstrates a similar theme where there is hope for change in society; however, The Hunger Games conveys hope for change by rebellion against an oppressive government control through the motivation of winning the game with the desire to survive whereas â€Å"Harrison Bergeron† mentions hope for change for freedom of individuality over equality through rebellion against anRead MoreHarrison Bergeron Essay: Compare the Epic War or Socialism vs. Capitalism.1054 Words   |  5 PagesVonneguts story â€Å"Harrison Bergeron† discusses the theme equality of results, but through his satirical circumstances there is an ambiguous theme targeting Socialism and Capitalism that shines through. In the story â€Å"Harrison Bergeron†, both Socialism and Capitalism are made fun of through extended satirical references. In the story, Vonneguts future predicts a rise of Socialism in America. However this Socialism relates to the equality of results as appose to equality of results. Vonnegut paintsRead MoreAnalysis Of Kurt Vonnegut s Harrison Bergeron 1322 Words   |  6 PagesKurt Vonnegut, Jr.’s short story â€Å"Harrison Bergeron.† Harrison, a brilliant and strong 14 year old boy, decides he doesn’t want to follow the government s rules anymore. He sets out to overthrow the government, knowing he may not succeed. Throughout the story Vonnegut expresses the theme that standing up for what you believe in despite the dangers is the morally righteous and necessary thing to do. A major theme in Kurt Vonnegut, Jr’s short story, â€Å"Harrison Bergeron,† is that standing up for whatRead MoreDystopian Society In Kurt Vonneguts Anthem And Harrison Bergeron1050 Words   |  5 Pagesthe two short stories â€Å"Anthem† and â€Å"Harrison Bergeron† the two main characters make a statement by showing it’s possible to break out of the controlling system, standing up and believing in themselves and individualism, and letting the world know about the greatness within one’s self. â€Å"Harrison Bergeron† is a short story written by Kurt Vonnegut. It is about a man named Harrison who got taken away from his parents at a young age because of his uniqueness. Harrison was thrown into prison and later escapedRead MoreThe Subject Of `` Harrison Bergeron By Kurt Vonnegut1507 Words   |  7 PagesThe subject of â€Å"Harrison Bergeron† by Kurt Vonnegut is equality. The theme of this short story is that society should make an effort to value individuality and fairness, in which everyone receives what they need to prosper, instead of universal equality. The forms used to elevate this subject and theme are point of view, syntax, characterization, irony, and humor. The point of view in â€Å"Harrison Bergeron† is third person with limited insight. The focal character is George Bergeron, the titular character’sRead MoreThe Downfalls of Egalitarianism and Television964 Words   |  4 PagesKurt Vonnegut envisioned the fatal outcome in his masterpiece, â€Å"Harrison Bergeron.† The story illustrates â€Å"what would happen if a government or some other power takes this notion serious† (Mowery). The protagonist, Harrison, who is arrest for â€Å"exuberant individuality,† escapes from prison and goes on national television station to declare himself emperor, only later to be killed by the handicap general Diane Moon. In â€Å"Harrison Bergeron,† Kurt Vonnegut satirizes the movement toward egalitarianism and

Leadership Styles Transformational Leadership - 1112 Words

Leadership Style Leadership is a process by which a person influences the thoughts, attitudes, and behaviors of others (Agard, 2011, p. 330). Leadership models can enable or hinder an organizations success. Additionally, leadership styles impact how effectively organizations reach their goals. When leaders understand their dominate leadership style, they can identify their strengths and weaknesses and gain insights on their abilities, values, and beliefs. In addition, understanding a leaders dominate leadership style provides them with an opportunity to improve leadership effectiveness enables them to develop their approach. Transformational Leadership Transformational leadership is currently the dominant leadership theory (Barling, 2010, p. 1). Transformational leaders facilitate transformation within an organization. They are driven by a strong set of values and a sense of mission. They are described as expressive, empathetic, extremely charismatic, deeply inspirational, and immensely visionary. In fact, their enthusiasm permeates an organizations culture and inspires and motivates followers to perform at optimal levels. In addition, transformational leaders empower followers by encouraging them to be creative, innovative thinkers and to realize their full potential. Further, they set clear, ambitious goals which inspire followers to go beyond their minimum task requirements to achieve extraordinary success. Lastly, they are highly visible leaders that spendShow MoreRelatedLeadership Styles : Transformational Leadership1426 Words   |  6 Pagesprove that transformational leadership styles have a major influence on the employee motivation and organisational culture, hence influence the long term success of the business. A number of key leadership styles, together with the transformational leadership will be discussed and linked to real business-world examples. According to the research, there are three main leadership styles, specifically transformational, transactional, and laissez-faire. It has been found that a transformational leadershipRead MoreLeadership Styles : Transformational Leadership1913 Words   |  8 Pagesleader; this is a leadership style called transformational leadership. Transformational leadership is a style of leadership that an individual is admired by many co-workers, changes how things are done, improves the vision for the future and motivate to the entire work environment to be better as a whole. Fact is that leaders who develop the style of a transformational leader leads to a better organisation performance, and a better job/employee satisfaction. Transformational leadership is based on fourRead MoreLeadership Styles : Transformational Leadership1457 Words   |  6 PagesOne leadership style stands out for its potential to advance organizational goals and achievement: Transformational Leadership. 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Transformational leaders are described as having a deep set of internal values that they encourage those under them to take part in, in the end the ultimate goal for transformational leader is to help the greater good (Doody andRead MoreTransformational Leadership Style9215 Word s   |  37 PagesInternational Journal of Hospitality Management 28 (2009) 254–262 Contents lists available at ScienceDirect International Journal of Hospitality Management journal homepage: www.elsevier.com/locate/ijhosman Transformational leadership style, market competition and departmental performance: Evidence from luxury hotels in Australia Anoop Patiar a,*, Lokman Mia b a b Department of Tourism, Leisure, Hotel and Sport Management, Grifï ¬ th University, 170 Kessels Road, Nathan, Brisbane, QldRead MoreLeadership Styles : Transformational Leadership1370 Words   |  6 PagesQUESTION 2 Transformational Leadership To improve motivation of employees it is necessary for the Simbian’s top-management to change their leadership style. 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A transformational leadership style differs from a transactional style in that the latter tends to focus on the use ofRead MoreA Unique Leadership Style And Transformational Leadership1286 Words   |  6 PagesLeadership is the process of motivating others toward completion of a common goal and/or task. Luthans Avolio (2003) also introduced the concept of authentic leadership development, which is one of the many psychological perspectives of leadership. Authentic leadership is often defined as a pattern of transparent and ethical leadership behaviors’ that encourage openness in sharing information needed to make decisions while accepting followers’ input (Bass, 1999). I truly believe deep in my heartRead MoreTransformational And Authoritarian Leadership Style1691 Words   |  7 Pages Transformational or Authoritarian Leadership Style Pamela Walsh Leadership Dr. Maureen Nixon March 9, 2015 Transformational or Authoritarian Leadership Style Over the course of several decades, the depiction of leadership has changed. What was thought to be innovative and participative or transformational tactic to leadership has replaced the classical and autocratic or authoritarian approach. The step forward that not everything old is bad and not everything new is good wasRead MoreLeadership Styles, Leadership, Transformational Leadership And Laissez Faire Leadership1167 Words   |  5 Pagesinspired you to develop your own leadership traits? â€Å"A leader is someone who demonstrates what’s possible† (Mark Yarnell, 2015). There are numerous leadership styles. Each of the numerous leadership styles can be beneficial if utilized in an appropriate means. I have chosen three leaders and their unique leadership styles to discuss in this paper. The unique styles that will be discussed are situational leadership, transformational leadership, and laissez-faire leadership. I will also discuss each

Self Assessment An Evaluation Of Oneself Or One s...

Self-assessment is an evaluation of oneself or one s actions and attitudes, in particular, of one s performance at a job or learning task considered in relation to an objective standard. According to the edutopia website, assessment affects decisions about grades, placement, advancement, instructional needs, curriculum, and, in some cases, funding. Along with evaluation of yourself, surveys are also important. Surveys uncover specific, important questions. Likewise, the survey we took in class helped me and the other students advance our knowledge of our different learning styles. It is important for a student to know his/hers strengths and weaknesses in the education field; knowing where a student is ranked in the classroom can help his/hers performance throughout high school or college. As I assessed myself and my learning style my dominant learning style is SF (sensing-feeling). In the overall data, I was 29.8% SF. Before taking the survey, I thought to myself that the data would end up fairly close between SF and ST. The strength of a SF is that those type of people value long term relationships and interpret other behavior. Personally, I do believe in long term relationships. I have maintained long term relationships within a small circle of friends and plan on keeping those throughout my life. One of the career options within the SF category is a nurse. Throughout high school, I thought I would study to be a nurse in college. Still interested in the medical field,Show MoreRelatedSelf Evaluation Influences Leadership Development1751 Words   |  8 PagesSelf-Evaluation influences Leadership Development Across the years, humans have kept their baby photos, their yearbooks, the letter from a friend, and their first checkbook safely. Usually, they do this because it gives a timeline of where a person has been and where they are now. For some, this method of self-assessing can be rewarding, yet for others, this process may be daunting if they are not at the level they had hoped. According to Dye (2010), values-driven leaders are self-assessors. In essenceRead MoreManagement Challenges For The 21st Century1866 Words   |  8 PagesThe paper discusses some key management theories with respect to managing oneself and leading others. Peter Drucker, in his book â€Å"Management Challenges for the 21st Century† (1999) has emphasized the importance of exploring and using one’s strengths, identifying areas for self-development, strengthening management skills and taking responsibility for relationships to become an effective leader. Leadership scholars Daniel Goleman, Richard B oyatzis, and Annie McKee in their book â€Å"Primal LeadershipRead MoreReflective teaching2038 Words   |  9 Pagesincluding reflection. He saw reflection as an aspect of thought, a rational and purposeful act that is more then mere thinking. 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Without these, relationships and healthy personalities will not develop as they should, much like a tree will not grow without sunlight and water. Rogers believed that every person can achieve their goals, wishes and desires in life. When, or rather if they did so, self actualization took place. This was one of Carl Rogers most important contributions

Professional Issues of IT for ACS Values - myassignmenthelp.com

Question: Write about theProfessional Issues of IT for ACS Values. Answer: ACS values are the Australian Computer Society Code of Ethics values. The society was formed to ensure that the computer society community in Australia follows a specific code of ethics (Hayes, 2004). The code of ethics are values and ideals which have been set for the purpose of ensuring individuals maintain and advance the dignity, honor and effectiveness of the information technology profession. From the case study we know that the website development team wanted to perform a usability test on a website using internal and external participants. We shall mainly focus on the method of usability testing which is based on the internal participants. Based on the terms of employment the internal participants can be mandated to participate in the usability testing. However is it ethical or correct to make the employees participate in the usability testing or should it be a voluntary action. The ACS code of ethics and specifically professionalism is a key aspect in ensuring its members ma intain the code. In our case the web development team should be professional in the way they undertake their duties most especially the usability testing which involves internal participants (Ridge, Weckert Lucas, 2013). They should ensure that the feedback they get from the internal participants is very accurate and unbias. For this to happen the participants need to feel at ease and not under pressure. They need to be offered the opportunity of being part of the usability testing voluntarily rather than being mandated to do it (Healy, 2013). The quality of life in relation to usability testing can be enhanced by ensuring that the participants are always allowed to share their honest opinions without any fear of consequences that may befall them later. If the feedback they give after participating in the testing is honest they can enable the web development team to improve on various aspects which will make the website more user friendly and will enable both internal and external users to enjoy using the website and get optimum results and information from using the website. Persuasion is a term used to express the extent of influence that can be exercised on an individual. When using persuasion an individual attempts to influence another persons attitudes, beliefs, motivations and intentions (Gass Selter, 2010). Effective persuasion is exercising this skill to ensure that it has an impact on the individual or people you are addressing. Effective persuasion is best exercised through words. People talk to you or address you in an effort to ensure they can persuade you to fulfill their goals or communicate a message. The language game is the use of words or a language such as English to ensure one is able to effectively persuade another individual. The speaker attempts to win the language game by persuading the listeners to forgive them for all the problems and pain which had befallen them. The speaker also uses the language game by emphasizing on various aspects such as the promise of a better future which will happen if the ingenious people forgive them and work together with them to grow their Country (Fautsch, 2007) . The linguistic devices the speaker uses include personification where he attributed a human quality to an idea when he says they should be forgiven and be part of healing of a nation. Repetition has also been used as a linguistic device to emphasize the point of asking for forgiveness. The speaker places a lot of emphasis on forgiveness because he wants to apologize for all the misfortunes which have befallen the indigenous people of Australia in the past. He says that by forgiving them and working together without caring about the origin of a people, will enable the future of the Country brighter and better. Symbolism is used when the speaker mentions the healing of a nation and working together as a chance of people being better in future and co-existing well together (Higgins Walker, 2012). The speaker also uses a specific choice of words in making his message clear. The part of the speech where speaker mention s the people of Australia no matter their origin are equal partners and have equal opportunities for them to shape the future of Australia. Symbolism has also been observed when the speaker mentions forgiveness and working together will symbolize the unity of the people of the Country. This will encourage peace and collaboration that will ensure the Country is prosperous in future, Procrastination is when an individual tries to avoid doing a task which needs to be done. Procrastination usually happens when a task needs to be done and is not started on until the deadline for completion of the task is very close (Schraw, Wadkins Olafson, 2007). Procrastination can be observed in various aspects of life such as going for a medical or dental checkup. People usually procrastinate of doing such a task until the last minute when they get sick or they experience a severe tooth ache. The example of a dental visit in relation to procrastination is when you get a sudden tooth ache when going on with your normal life. The toothache is felt in on and off while eating or drinking cold water. You then say that you need to visit the dentist but somehow you keep postponing the visit. It can be due to various reasons such as being too busy or being afraid of visiting the dentist. You end up visiting the dentist at the last minute after the toothache becomes very severe. Procras tination causes a lot of inconveniences in the future and therefore it is imperative that we avoid it and always accomplish tasks in good time. In the recent past I have been able to learn good time management skills. Time management is simply the ability of an individual to be able to effectively use their time effectively to accomplish the tasks in which they have set. Time management is a critical skill for every individual to have and master (Fowler, 2012). If we are able to manage our time well we can be able to participate in many activities and be more productive. A good example is when students are about to do their exams. When students are in school they have a hard time managing their time. This is usually because they have a lot of extra curricular activities which they give priority as compared to most of their school duties. It is a normal phenomenon to find students during the days towards an exam carrying many books, having sleepless nights and filling the library as they try to catch up on their studies and be ready for their exams (Baer, 2014). It is good for students to read and also engage in extra curricu lar activities. It is better if they can manage their time well so that they are able to manage both of these tasks. It is important that we are able to manage our time so that we do not do a lot of things at the last minute. Procrastination is also very bad when in school. Postponing assignments is also a very bad thing because students end up having to do a lot of last minute work to accomplish the needed task. The best way to gain and maintain good time management skills is always having a plan (Morgenstern, 2004). When we plan the tasks we shall be doing we are able to schedule the needed time to accomplish each of those tasks. When we have good time management skills we can be able to meet all the needed school requirements and assignments on time while also finding time to engage in extra curricular activities. These skills being enforced can also be replicated in an individuals life. Someone who is able to have good time management skills is able to organize their life and ac hieve a lot of things in their lives. References Baer D. (2014). Dwight Eisenhower Nailed A Major Insight About Productivity. Business Insider. Fautsch L. (2007). Persuasion. The American Salesman. 52(1): 13-16. Fowler N. (2012). App of the week: Eisenhower, the to do list to keep you on task. Venture Village. Gass R. H. Selter J. S. (2010). Persuasion, social influence and compliance gaining. Boston, Allyn Bacon. p. 33. Hayes S. (2004). US body sets up here to rival ACS. The Australian. Healy T. (2013). IT profession deserves better than the ACS. Sydney Morning Herald. Fairfax Media. IT Pro. Higgins C. Walker R. (2012). Ethos, logos, pathos: Strategies of persuasion in social/environmental reports. Accounting Forum. 36: 194-208. Morgenstern J. (2004). Time Management from the Inside Out: The Foolproof System for Taking Control of Your Schedule and Your Life. Owl Books. p. 285. Ridge J., Weckert J, Lucas R. (2013). The maturing of a profession. Chapter 2. Professionalism in the information and communication technology industry. Australian National University. Pp. 45-48. Schraw G., Wadkins T. Olafson L. (2007). Doing the Things We Do: A grounded Theory of Academic Procrastination. Journal of Educational Psychology. 99: 12-25.

Porters Five Forces

Free Essays on Jury Process

In a criminal trial the way an â€Å"impartial jury† is selected is: first representatives from a cross-section of the population are selected, what this means is that the pool of persons from which the actual juries are drawn must be approximate a fair representative cross section of the local population (99). The names come from voter registration, or in some states also licenses. Then these people are summoned and they must come to the courthouse, on the specified date. Both the prosecution and the defense are able to review some information about the potential jurors. Then they have a certain number of preemptory challenges in which they may strike those in which they feel a hunch or intuition about, which is used on both sides to eliminate â€Å"extremes of partiality†(131). When this is done, the jury is â€Å"impartial† which is not always the case. The history of the jury is really long and has a lot of facts; I’ll try to break it down. In the beginning of the jury system, the qualities looked for in a juror are very different than what we look for today. Back then people wanted jurors who had an understanding of the conscience of the community (18). They wanted the juries peers who were those who reside near him, his neighbor and those who were well acquainted with him, this also was conflicting because they wanted impartiality which was hard if you held certain biases or prejudices against the defendant, or you knew someone who had a bias against him. This was known as the local knowledge model. Their was a lot of controversy between the Federalists and the Anti-Federalist, because the Federalists claim was that for a trial to lack partiality the geography of justice needed to be enlarged, the Anti-Federalists were very much in favor of local juries, they believed that local juries were more beneficial to the com mon man. The jury at this time was only limited to white males who had property, so there was a chunk o... Free Essays on Jury Process Free Essays on Jury Process In a criminal trial the way an â€Å"impartial jury† is selected is: first representatives from a cross-section of the population are selected, what this means is that the pool of persons from which the actual juries are drawn must be approximate a fair representative cross section of the local population (99). The names come from voter registration, or in some states also licenses. Then these people are summoned and they must come to the courthouse, on the specified date. Both the prosecution and the defense are able to review some information about the potential jurors. Then they have a certain number of preemptory challenges in which they may strike those in which they feel a hunch or intuition about, which is used on both sides to eliminate â€Å"extremes of partiality†(131). When this is done, the jury is â€Å"impartial† which is not always the case. The history of the jury is really long and has a lot of facts; I’ll try to break it down. In the beginning of the jury system, the qualities looked for in a juror are very different than what we look for today. Back then people wanted jurors who had an understanding of the conscience of the community (18). They wanted the juries peers who were those who reside near him, his neighbor and those who were well acquainted with him, this also was conflicting because they wanted impartiality which was hard if you held certain biases or prejudices against the defendant, or you knew someone who had a bias against him. This was known as the local knowledge model. Their was a lot of controversy between the Federalists and the Anti-Federalist, because the Federalists claim was that for a trial to lack partiality the geography of justice needed to be enlarged, the Anti-Federalists were very much in favor of local juries, they believed that local juries were more beneficial to the com mon man. The jury at this time was only limited to white males who had property, so there was a chunk o...

Farewell to manzanar Essay Example | Topics and Well Written Essays - 750 words

Farewell to manzanar - Essay Example The familys loyalty was to America. However, Jeannes father was arrested two weeks after Pearl Harbor. When the family moves to Terminal Island with Jeannes brother, Woody, the family realizes how different they are. All of Woodys neighbors only speak Japanese, not English. This makes the Wakatsukis uncomfortable. When President Roosevelt signed Executive Order 9066 on February 19, 1942, the Watatsukis fate was sealed. They were forced to the Manzanar camp in California. This internment camp served to keep Japanese-Americans interred for the term of World War II. The Japanese-American Citizens League helped organize the Japanese-Americans be sent to the internment camps. Later these types of organizations would be considered inu, or traitors, for helping the military send their people to the camps without protest. Manzanar is very dusty. Dust covers everything. Privacy is not as abundant as the dust. In fact, there was not any privacy for the internees at Manzanar. Jeannes mother used cardboard boxes to protect herself when using the latrine. The latrine and barracks were also very dirty and unsanitary. The camp kitchen was extremely unsanitary. Contaminated food frequently made the internees sick. This made the camp internees candidates for immunizations. The old and young alike had to get shots. It was not like even modern day prisons, but much worse. Manzanar fostered family division. Every adult in the camp had to hold down a job. Jeannes mother was a dietitian in the camp kitchen. Meals were what the author missed the most. Families could not sit down and share meals. Adults ate at one time, while children ate at another in separate parts of the camp. The camp was very crowded, forcing the Wakatsukis to share a room at first. Despite the close quarters at night, the family was driven apart during the day. Before Pearl Harbor, Jeannes father was a proud man. He earned

Case Study Strategi Audit Essay Example | Topics and Well Written Essays - 2000 words

Case Study Strategi Audit - Essay Example It was started in the year 1962 in Rogers, Arkansas, by Sam Walton. It took a long way to reach an annual sales turnover of $1 billion. By the year 2002, Wal-Mart became the world’s largest retail giant with sales of $218 billions. In the initial days of starting the business, Wal-Mart designed a strategy to build large discount stores in rural areas. Wal-Mart employed the strategy of selling branded products at a very low price. Initially, the management of the firm decided to develop the firm as a one-stop discounted departmental chain store with a vast variety of general merchandise goods to be offered to the customers that too at a low price. The management’s initial focus was on its purchase decisions. The firm focused on exploring each and every opportunity that helped in general merchandise goods. The two important products of the entire Wal-Mart product line on which the firm laid a strong emphasis were health products and beauty products. The stores used to maintain a high stock of these products. When the firma became successful in opening more than 279 stores by the end of the year 1979, the next focus was on designing strategies for expanding the firm aggressively. In contrast, to the other retail stores who built ware houses in order to serve the already existing outlets, Wal-Mart used to first build distribution centers and later started stores around the distribution centers. This strategy of Wal-Mart helped the firm in pooling the advertising and distribution overheads. The firm also focused on the transportation time needed for a customer to reach the outlet. The strategy of aggressive expansion turned out to be a big success because Wal-Mart became the largest retailer and discount stores in United States by the end of the year 1991 which had almost 1,573 Wal-Mart outlets in 35 states. Once the firm attained the position of national discount

Change and Modernization Essay Example for Free

Change and Modernization Essay The Industrial Revolution has had a tremendous impact on the whole world. But because of its British origin the people living on the island bore most of the hardships and went through the quickest and most radical change out off all the people affected by this movement. The beginning of the movement can be traced to 1750 and continued through to about 1870. Although Britain was the epicenter of this change not many countries were unaffected by this. It may be argued that the reason the Industrial Revolution spanned a period of 120 years was due to it transforming a large-scale culture as opposed to a quicker change in a small-scale Arembepe like culture. Subsequent to the revolution, agricultural growth took a backseat to technological innovations and mass production. Society changed in a very short time from an agrarian and relatively self-sufficient society to an industrial and consumption driven one. As a result, this gave rise to Capitalism, as well as, Marxism because a revolution of this sort pitted the people with little access to resources against the wealthy factory managers and owners. Associated with this progress is also religion, which played an integral part in the shaping of the revolution and its progress. The industrial revolution forever changed the face of the modern world. The modernization and change that was brought upon by this revolution improved lives and at the same time disregarded the basic principles of humane treatment. All of this was achieved with the blood and sweat of the British factory laborer in the 18th and 19th century. Prior to the Industrial Revolution Britain experienced a boom from colonial entrepreneurship. Britain was at the forefront of colonial discovery helped by advances in marine architecture and navigation. Sociopolitical organization was stratified and Britain was still mostly an agrarian society. Ascribed statues determined who was noble and who was not and social roles were an integral part of the British society. Institutions like the royal court and tribunals along with nobility, which was also entrusted with keeping the peace, represented basic the structure of the state. Farming was the engine that moved the British economy prior to the Industrial Revolution and wealth was relative to the amount of land one owned. In most regions, the ownership of agricultural land and the organization of production followed a common pattern. A large proportion of  land was owed by medium to large landowners, (More, 5) but a significant number of small land owners, whose numbers were declining i n the late 18th century, also existed. Life in the country was hard because there was no specialization, thus large numbers of laborers were needed and wages were low. Division of labor was evident but was not gender based due to a degree of specialization within each specific production type. Disgruntled youth who faced bleak prospects in agricultural life often chose to join the military or the clergy. These two institutions were viewed as appropriate alternatives to a future mired with difficulty and little or no prospect of advancement in status. Compared with an agricultural vocation the clergy and the military provided the opportunity of increase in status and power. Religion was also an integral feature of British society in the pre-Industrial age. As mentioned above sociopolitical structure was stratified with a King who presided over all state matters. His/her rule was considered divine and the church played a key role in most state matters. It is evident that legitimacy was achieved through authority and that formal institutions were well in place generations prior to the Industrial Revolution. Even during the first years of the Industrial Revolution Britain was considered to be one of the most advanced nations in the world and its superiority was reflected in the higher living standards and more diverse patterns of consumption than elsewhere. (Evans, 6) Even prior to the Industrial Revolution people living on the British Isle enjoyed a more prosperous life than their neighbors. The English consumed far greater amounts of meat than their French counterparts (Evans, 6) and what is even more surprising is that this prosperity was also enjoyed by populations living well outside urban settlements. Stratification in British society was more than evident in this period and this is evident by unequal access to wealth, status, and power. Aristocracy was an integral part of the society and divine rule was still a universal belief held by most subjects of the British society. Bureaucracy, at the time, was a well established institution which seemed to grow with the growth of the econ omy subsequent to the Industrial Revolution. The Industrial Revolution was the result of several factors that Britain had supremacy over. The British colonies were  at its highest productivity and all the exports were shipped to England where they were sold or used as raw materials for production. It is argued that the cotton industry was the largest contributor to the technological advances of the period, more specifically, advances in weaving techniques. Factories grew in urban areas of England, where labor was plentiful, and it was not long before even the cities were not big enough to supply the labor requirements of the factories. Rural settlements soon were emptied by the promise of prosperity and independence from communal living. Massive amounts of previously agricultural workers were migrating to the cities with no vision of what may be in store for them. What awaited them were long hours, a hazardous working environment and deplorable living conditions. Innovation was at the core of the Industrial Revolution hence systems were developed to accommodate this but had themselves gone through numerous changes. The Patent System gave the inventor sole proprietorship of an invention and its distribution for fourteen years and many industrialists argued that this was monopolizing. (Bowden, 30) Therefore, they successfully lobbied for firmer regulations when the government awarded patents. The rigidity of the patent system manifested itself in the form of numerous approvals one had to seek to have his invention recognized. Unfortunately, it was mostly men who partook in inventions and technological advancement at this time. These inventions were immediately, upon government approval, implemented in the industrial infrastructure and as a result modernization and change is most obvious during this period. The Industrial Revolution ha[d] enormously increased living standards and it cannot be disputed that the benefits of economic growth filtered down through society to produce higher per capita incomes and vastly increased consumer choices. (Evans, 157) These choices greatly impacted the resettlement of people to urban areas, thus, affecting the growth of cities in Britain in an unimaginable way. Cities grew by as much as 180 percent in a span of 25 years. This resettlement affected agricultural production and combined with price increases of agricultural goods the average laborer in the city could barely support his/her family. Slowly through economic growth wages of laborers improved and gained buoyancy (Evans, 161) While some professions continued unflustered, industrialization influenced the relationship most people had with work. Lawyers, doctors and shopkeepers and some artisans were mostly unaffected by the industrial revolution but skilled artisans that had to compete with the factories were driven out of business and had to settle for a job as a semi skilled laborer in a factory. (Strayer, 102) This impacted the family dynamic greatly because the putting out system was extinguished almost overnight. (Bowden, 248) This system was unique in that it involved a household rather than a factory in the production of goods. This mode of production involved a family or a household which would receive raw materials and refine them and pass them on to a different household which would work on the good according to its trade. This would sometimes occur numerous times until it was delivered to the merchant who sold it at the market and then paid the household for their work. With the rise of factories families were now obsolete, as far as production factors are concerned, and were forced to seek work outside the household. This divided the family unit with the husband, the wife, and even the child all working in a factory. A principle that was established even in agrarian society, not long before, was adopted in industrialization. Families tended to have more children because children were seen as potential wage earners and, thus, were considered to be an asset capable of earning a wage and contributing to the family. Sense of community was also disturbed by the industrialization in Britain. Church bells symbolized communal notions but soon became obsolete with the advent of the pocket watch. A Pocket watch also symbolized individualism because it meant that people were measuring time for themselves due to increased demand for efficiency. By 1899 Britain had the largest city in Europe. London had overtaken its continental counterparts and numerous other vastly populated cities could only be compared to certain cities in France and Italy. From the 1700 to 1800s Londons population doubled to 950,000 and the number of towns with a population over 20,000 changed from eight to about twenty in the period from 1750 to 1800. (More, 21) Trade between these towns was crucial to sustain the economy and it was done through a very complicated  transportation network which included roads, canals, and royal highways. Canals were crucial to the British economy because river travel was less costly and viewed to be safer. The dawn of complex transport infrastructure led to the introduction of the mail service in 1784. Roads and canals were maintained by the people living in the region and by wealthy landowners who saw that it was in their interest to maintain the infrastructure that was crucial to their prosperity. These entrepreneurs saw the potential in the income these roads can bring to them, thus, toll booth levying was evident throughout the 18th and 19th centuries. Britain was fortunate in possessing waterways which accommodated trade and transportation and also in that major cities and industrial centers had ports that were easily accessible. The exchange of goods and materials was accommodated by a very sophisticated system that involved paper money, gold, silver and bronze coins. The economy was bolstered by the emerging banking system which was the precursor to the system that banks follow today. The Industrial Revolution had influenced the life of an urban citizen in numerous ways. Market demand forced companies to specialize in selling and producing one good rather than various goods. The Lipton Tea company (More, 126) specialized in packaging and selling tea it had imported from the Indies and with this companies emerged to accommodate the tea industry. Butter companies and other companies merged to produce goods which would satisfy the tea drinking population of Britain. This shows the specialization that emerged as a result of the Industrial Revolution. These are examples from the consumer goods sector but numerous companies emerged that produced capital goods and usually these companies produced just one good. Industrial companies were no exception to this new trend in production and they specialized on a much larger scale than ever before in history. Industry now became a new concept in the old world. The beginning of the 19th century saw the emergence of the iron and engineering industry that complimented each other. The engineering industry can be divided into two separate entities that both impacted the British society enormously. The heavy engineering sector was growing due to iron production and also due to demands for mechanization, whose importance was realized in the 19th century. The steam engine (predecessor to the gas powered one) was invented  by James Watt and had significantly improved the efficiency of some industries. Engineering also took on a form of light engineering as well. Light engineering accommodated the rise in demand for consumer products. These products usually took the form of cutlery, pots, pans but also textiles. As more and more people moved to urban areas there was a higher demand for products that were used by the upper class. Class differences were obvious and with the onset of migration to urban areas the rural population was witness to the life styles of the rich and, thus, there was and increased demand for the products the wealthy were using. The rise in wage also accommodated this rise in demand for consumer products. The textile industry which had seen mechanization impact its production was now less responsive to change. Change was more gradual and incremental instead of being rapid or sudden. Wool had overtaken the demand of cotton due to its higher quality and affordability which came about as a result of rising incomes, as mentioned before. The industrial revolution was a phenomenon that transformed the face of Britain and the world the moment it presented itself. Its results are visible today by societys high demand for mechanization and constant movement towards modernization. The face of Britain changed almost instantly and with it so did the lives of the people who represented the backbone of the British society. The Industrial Revolution is the largest single example of change and modernization in the modern age. Lives were tumultuously changed and behavior patterns forever altered for the sake of technological advancement. Agricultural revolution took a back seat and emphasis moved from relative self-sufficiency to wage earning. The common laborer experienced tumultuous times ridden with economic and domestic hardships. The quality of life was deplorable at best in some places but eventually the situation improved with the rise in moralist ideologies. Change was achieved at the expense of early industrial laborers and the hardships they have endured. Whether modernization benefits the human species is an argument that will be debated until the final outcome is realized. Until then the society around us is following a natural course of evolution that is sometimes damaging everything around us. This change that occurred and is still occurring, although less drastically now, is change that is endogenous  to our society and that is why we must view it as being natural and occurring independent of outside influences. Modernization is a result of change and change is a natural occurring event and all we can do is watch and not let it rule us.

Perfection in Ursula LeGuins The Lathe of Heaven Essay -- Ursula LeGu

Perfection in Ursula LeGuin's The Lathe of Heaven Is there such a place where ideal perfection exists? Can our views on social, political, and moral issues ever concur with one another? The answer to these questions is simple - no. The world we live in today is full of social, political, and moral imperfections that hinder our ability to live a life free of evil. In Ursula LeGuin's The Lathe of Heaven, this imperfect lifestyle is the foundation on which the desire for a utopian society sits. The American Heritage Dictionary defines reality as the totality of all things possessing actuality, existence, or essence . For George Orr, the protagonist in the novel, his dreams actually become reality. Through his gift of effective dreaming, Orr can alter elements in the "real world" and is terrified because of it. In Orr's view, "This gift has been given to a fool, a passive nothing of a man" (LeGuin 121). With this gift comes the ability to change what is real, create things that never existed, and in turn, eliminate things that did. In other words, George Orr was given a gift to play God and does not want the responsibility. In order to save himself and the rest of society, Orr confides in Dr. Haber, his psychiatrist as well as the antagonist in the novel. Taking advantage of his gift, Dr. Haber forces Orr to dream in search of the elusive Utopia. For Dr. Haber, "there was no end to his determination to improve the world (LeGuin 128). His sole mission is to gain power and do all he can to create the perfect world. In attempts to create a place of ideal perfection, a world of pain, oppression, and terror eventually ensues. This search for eventual perfection brings forth the realization that such a Utopian society is not only i... ...nce our perceptions on reality and the concept of a utopian society. The connection between our own society and elements of the novel enable readers to recognize that although a literal utopian society is not possible, the closest we can come to perfection is to find a balance between what is and what we can imagine. Works Cited The American Heritage Dictionary: 2nd Edition. Houghton Mifflin Company. Boston, MA, 1985. Copland, Neil. "Main Concepts of Taoism: Yin and Yang." Taoism and the Taoist Arts. April 2002. http://www.taoistarts.net/main.html#yin LeGuin, Ursula K. The Lathe of Heaven. New York, NY: Harper Collins Publishers Inc., 2000. Robinson, B.A. "History of Taoism." Taoism. March 21, 2002. http://religioustolerance.org/taoism.html Velasquez, Manuel. Philosophy: A Text With Readings. 8th Edition. Belmont, CA: Wadsworth/Thomson Learning, 2002.

Importance of arts Essay

Now we must study the following questions: What significance does art acquire if we assume that our interpretation of it is correct? What is the relation between aesthetic response and all other forms of human behavior? How do we explain the role and importance of art in the general behavioral system of man? There are as many different answers to these questions as there are different ways of evaluating the importance of art. Some believe art is the supreme human activity while others consider it nothing but leisure and fun. The evaluation of art depends directly on the psychological viewpoint from which we approach it. If we want to find out what the relationship between art and life is, if we want to solve the problem of art in terms of applied psychology, we must adopt a valid general theory for solving these problems. The first and most widespread view holds that art infects us with emotions and is therefore based upon contamination. Tolstoy says, â€Å"The activity of art is ba sed on the capacity of people to infect others with their own emotions and to be infected by the emotions of others. †¦ Strong emotions, weak emotions, important emotions, or irrelevant emotions, good emotions or bad emotions – if they contaminate the reader, the spectator, or the listener – become the subject of art. This statement means that since art is but common emotion, there is no substantial difference between an ordinary feeling and a feeling stirred by art. Consequently, art functions simply as a resonator, an amplifier, or a transmitter for the infection of feeling. Art has n6 specific distinction; hence the evaluation of art must proceed from the same criterion which we use to evaluate any feeling. Art may be good or bad if it infects us with good or bad feelings. Art in itself is neither good nor bad; it is a language of feeling which we must evaluate in accordance with what it expresses. Thus, Tolstoy came to the natural conclusion that art must be evaluated from a moral viewpoint; he therefore approved of art that generated good feelings, and objected to art that, from his point of view, represented reprehensible events or actions. Many other critics reached the same conclusions as did Tolstoy and evaluated a work of art on the basis of its obvious content, while praising or condemning the artist accordingly. Like ethics, like aesthetics – this is the slogan of this theory. But Tolstoy soon discovered that his theory failed when he tried to be consistent with his own conclusions. He compared two artistic impressions:  one produced b y a large chorus of peasant women who were celebrating the marriage of his daughter; and the other, by an accomplished musician who played Beethoven’s Sonata. The singing of the peasant women expressed such a feeling of joy, cheerfulness, and liveliness that it infected Tolstoy and he went home in high spirits. According to him, such singing is true art, because it communicates a specific and powerful emotion. Since the second impression involved no such specific emotions, he concluded that Beethoven’s sonata is an unsuccessful artistic attempt which contains no definite emotions and is therefore neither remarkable nor outstanding. This example shows us the absurd conclusions that can be reached if the critical understanding of art is based upon the criterion of its infectiousness. Beethoven’s music incorporates no definite feeling, while the singing of the peasant women has an elementary and contagious gaiety. If this is true, then Yevlakhov is right when he states that â€Å"‘real, true’ art is military or dance music, since it is more catchy.† Tolstoy is consistent in his ideas; beside folk songs, he recognizes only â€Å"marches and dances written by various composers† as works â€Å"that approach the requirements of universal art.† A reviewer of Tolstoy’s article, V. G. Valter, points out that â€Å"if Tolstoy had said that the gaiety of the peasant women put him in a good mood, one could not object to that. It would mean that the language of emotions that expressed itself in their singing (it could well have expressed itself simply in yelling, and most like ly did) infected Tolstoy with their gaiety. But what has this to do with art? Tolstoy does not say whether the women sang well; had they not sung but simply yelled, beating their scythes, their fun and gaiety would have been no less catching, especially on his daughter’s wedding day.† We feel that if we compare an ordinary yell of fear to a powerful novel in terms of their respective infectiousness, the latter will fail the test. Obviously, to understand art we must add something else to simple infectiousness. Art also produces other impressions, and Longinus’ statement, â€Å"You must know that the orator pursues one purpose, and the poet another. The purpose of poetry is trepidation, that of prose is expressivity,† is correct. Tolstoy’s formula failed to account for the trepidation which is the purpose of poetry. But to prove that he is really wrong, we must look at the art of military and dance music and find out whether the true purpose of that art is to infect. Petrazhitskii assumes  that aestheticians are wrong when they claim that the purpose of art is to generate aesthetic emotions only. He feels that art produces general emotions, and that aesthetic emotions are merely decorative. â€Å"For instance, the art of a warlike period in the life of a people has as its main purpose the excitation of heroic-bellicose emotions. Even now, military music is not intended to give the soldiers in the field aesthetic enjoyment, but to excite and enhance their belligerent feelings. The purpose of medieval art (including sculpture and architecture) was to produce lofty religious emotions. Lyric appeals to one aspect of our emotional psyche, satire to another; the same applies to drama, tragedy, and so on †¦ Apart from the fact that military music does not generate bellicose emotions on the battlefield, the question is not properly formulated here. Ovsianiko-Kulikovskii, for example, comes closer to the truth when he says that â€Å"military lyrics and music ‘lift the spirit’ of the army and ‘inspire’ feats of valor and heroic deeds, but neither of them leads directly to bellicose emotions or belligerent affects. On the contrary, they seem to moderate bellicose ardor, calm an excited nervous system, and chase away fear. We can say that lifting morale, calming nerves, and chasing away fear are among the most important practical functions of ‘lyrics’ which result from their psychological nature. It is therefore wrong to think that music can directly cause warlike emotions; more precisely, it gives bellicose emotions an opportunity for expression, but music as such neither causes nor generates them. Something similar happens with erotic poetry, the sole purpose of which, according to Tolstoy, is to excite lust. Anyone who understands the true nature of lyrical emotions knows that Tolstoy is wrong. â€Å"There is no doubt that lyrical emotion has a soothing effect on all other emotions (and affects) to the point that at times it paralyzes them. This is also the effect it has on sexuality with its emotions and affects. Erotic poetry, if it is truly lyrical, is far less suggestive than works of the visual arts in which the problems of love and the notorious sex problem are treated with the purpose of producing a moral reaction. Ovsianiko-Kulikovskii is only partly correct in his assumption that sexual feeling, which is easily excited, is most strongly stirred by images and thoughts, that these images and thoughts are rendered harmless by lyrical emotion, and that mankind is indebted to lyrics, even more than to ethics,  for the taming and restraining of sexual instincts. He underestimates the importance of the other art forms, which he calls figurative, and does not remark that in their case also emotions provoked by images are counteracted by the nonlyrical emotion of art. Thus we see that Tolstoy’s theory does not hold in the domain of the applied arts, where he thought its validity to be absolute. As concerns great art (the art of Beethoven and Shakespeare), Tolstoy himself pointed out that his theory is inapplicable. Art would have a dull and ungrateful task if its only purpose were to infect one or many persons with feelings. If this were so, its significance would be very small, because there would be only a quantitative expansion and no qualitative expansion beyond an individual’s feeling. The miracle of art would then be like the bleak miracle of the Gospel, when five barley loaves and two small fishes fed thousands of people, all of whom ate and were satisfied, and a dozen baskets were filled with the remaining food. This miracle is only quantitative: thousands were fed and were satisfied, but each of them ate only fish and bread. But was this not their daily diet at home, without any miracles? If the only purpose of a tragic poem were to infect us with the author’s sorrow, this would be a very sad situation indeed for art. The miracle of art reminds us much more of another miracle in the Gospel, the transformation of water into wine. Indeed, art’s true nature is that of transubstantiation, something that transcends ordinary feelings; for the fear, pain, or excitement caused by art includes something above and beyond its normal, conventional content. This â€Å"something† overcomes feelings of fear and pain, changes water into wine, and thus fulfills the most important purpose of art. One of the great thinkers said once that art relates to life as wine relates to the grape. With this he meant to say that art takes its material from life, but gives in return something which its material did not contain. Initially, an emotion is individual, and only by means of a work of art does it become s ocial or generalized. But it appears that art by itself contributes nothing to this emotion. It is not clear, then, why art should be viewed as a creative act nor how it differs from an ordinary yell or an orator’s speech. Where is the trepidation of which Longinus spoke, if art is viewed only as an exercise in infectiousness? We realize that science does not simply infect one person or a whole society with thoughts and ideas, any more than technology helps man  to be handy. We can also recognize that art is an expanded â€Å"social feeling† or technique of feelings, as we shall show later. Plekhanov states that the relationship between art and life is extremely complex, and he is right. He quotes Tairfe who investigated the interesting question of why landscape painting evolved only in the city. If art were intended merely to infect us with the feelings that life communicates to us, then landscape painting could not survive in the city. History, however, proves exactly the opposite. Taine writes, â€Å"We have the right to admire landscapes, just as they had the right to be bored by it. For seventeenth-century man there was nothing uglier than a mountain. It aroused in him many unpleasant ideas, because he was as weary of barbarianism as we are weary of civilization. Mountains give us a chance to rest, away from our sidewalks, offices, and shops; we like landscape only for this reason.† 6 Plekhanov points out that art is sometimes not a direct expression of life, but an expression of its antithesis. The idea, of course, is not in the leisure of which Taine speak s, but in a certain antithesis: art releases an aspect of our psyche which finds no expression in our everyday life. We cannot speak of an infection with emotions. The effect of art is obviously much more varied and complex; no matter how we approach art, we always discover that it involves something different from a simple transmission of feelings. Whether or not we agree with Lunacharskii that art is a concentration of life, we must realize that it proceeds from certain live feelings and works upon those feelings, a fact not considered by Tolstoy’s theory. We have seen that this process is a catharsis – the transformation of these feelings into opposite ones and their subsequent resolution. This view of course agrees perfectly with Plekhanov’s principle of antithesis in art. To understand this we must look at the problem of the biological significance of art, and realize that art is not merely a means for infection but something immeasurably more important in itself. In his â€Å"Three Chapters of Historic Poetics,† Veselovskii says that ancient singing and playing were born from a complex need for catharsis; a cho rus sung during hard and exhausting work regulates muscular effort by its rhythm, and apparently aimless play responds to the subconscious requirement of training and regulation of physical or intellectual effort. This is also the requirement of psychophysical catharsis formulated by Aristotle for the drama; it manifests itself in the  unsurpassed mastery of Maori women to shed tears at will, and also in the overwhelming tearfulness of the eighteenth century. The phenomenon is the same; the difference lies only in expression and understanding. We perceive rhythm in poetry as something artistic and forget its primitive psychophysical origins. The best repudiation of the contamination theory is the study of those psychophysical principles on which art is based and the explanation of the biological significance of art. Apparently art releases and processes some extremely complex organismic urges. The best corroboration of our viewpoint can be found in the fact that it agrees with Bucher’s studies on the origins of art and permits us to understand the true role and purpose of art. Bucher established that music and poetry have a common origin in heavy physical labor. Their object was to relax cathartically the tremendous stress created by labor. This is how Bucher formulated the general content of work songs: â€Å"They follow the general trend of work, and signal the beginning of a simultaneous collective effort; they try to incite th e men to work by derision, invective, or reference to the opinion of spectators; they express the thoughts of the workers about labor itself, its course, its gear, and so forth, as well as their joys or sorrows, their complaints about the hardness of the work and the inadequate pay; they address a plea to the owner, the supervisor, or simply to the spectator.† The two elements of art and their resolution are found here. The only peculiarity of these songs is that the feeling of pain and hardship which must be solved by art is an essential part of labor itself. Subsequently, when art detaches itself from labor and begins to exist as an independent activity, it introduces into the work of art the element which was formerly generated by labor: the feelings of pain, torment, and hardship (which require relies are now aroused by art itself, but their nature remains the same. Biicher makes an extremely interesting statement: â€Å"The peoples of antiquity considered song an indispensable accompaniment of hard labor.† From this we realize that song at first organized collective labor, then gave relief and relaxation to painful and tormenting strain. We shall see that art, even in its highest manifestations, completely separate from labor and without any direct connection thereto, has maintained the same functions. It still must systematize, or organize, social feeling and give relief to painful and tormenting strain. Quintilian puts it this way: â€Å"And  it appears as if [music] were given to us by nature in order to make labor bearable. For instance, the rower is inspired by song; it is useful not only where the efforts of many are combined, but also when it is intended to provide rest for an exhausted worker.† Thus art arises originally as a powerful tool in the struggle for existence; the idea of reducing its role to a communication of feeling with no power or control over that feeling, is inadmissible. If the purpose of art, like Tolstoy’s chorus of peasant women, were only to make us gay or sad, it would neither have survived nor have ever acquired its present importance. Nietzsche expresses it well injoyful Wisdom, when he says that rhythm involves inducement and incentive: â€Å"It arouses an irresistible desire to imitate, and not only our legs but our very soul follow the beat. †¦ Was there anything more useful than rhythm for ancient, Superstitious mankind? With its help everything became feasible – work could be performed magically, God could be forced to appear and listen to grievances, the future could be changed and corrected at will, one’s soul could be delivered of any abnormality. Without verse man would be nothing; with it, he almost became God.â €  It is quite interesting to see how Nietzsche explains the way in which art succeeded in acquiring such power over man. â€Å"When the normal mood and harmony of the soul were lost, one had to dance to the song of a bard – this was the prescription of that medicine †¦ First of all, inebriation and uncontrolled affect were pushed to the limit, so that the insane became frenzied, and the avenger became saturated with hatred.† Apparently the possibility of releasing into art powerful passions which cannot find expression in normal, everyday life is the biological basis of art. The purpose of our behavior is to keep our organism in balance with its surroundings. The simpler and more elementary our relations with the environment, the simpler our behavior. The more subtle and complex the interaction between organism and environment, the more devious and intricate the balancing process. Obviously this process cannot continue smoothly toward an equilibrium. There will always be a certain imbalance in favor of the environment or the organism. No machine can work toward equilibrium using all its energy efficiently. There are always states of excitation which cannot result in an efficient use of energy. This is why a need arises from time to time to discharge the unused energy and give it free rein in order to reestablish our equilibrium with the rest of the  world. Orshanskii says that feelings â€Å"are the p luses and minuses of our equilibrium.† These pluses and minuses, these discharges and expenditures of unused energy, are the biological function of art. Looking at a child, it is evident that its possibilities are far greater than actually realized. If a child plays at soldiers, cops and robbers, and so on, this means, according to some, that inside himself he really becomes a soldier or a robber. Sherrington’s principle (the principle of struggle for a common field of action) clearly shows that in our organism the nervous receptor fields exceed many times the executing effector neurons, so that the organism perceives many more stimuli than it can possibly attend to. Our nervous system resembles a railway station into which five tracks lead, but only one track leads out. Of five trains arriving at this station, only one ever manages to leave (and this only after a fierce struggle), while the other four remain stalled. The nervous system reminds us of a battlefield where the struggle never ceases, not even for a single instant, and our behavior is an infinitesimal part of what is really included in the possibilities of our nerv ous system, but cannot find an outlet. In nature the realized and executed part of life is but a minute part of the entire conceivable life Oust as every life born is paid for by millions of unborn ones). Similarly, in our nervous system, the realized part of life is only the smallest part of the real life contained in us. Sherrington likens our nervous system to a funnel with its narrow part turned toward action, and the wider part toward the world. The world pours into man, through the wide opening of the funnel 154), thousands of calls, desires, stimuli, etc. enter, but only an infinitesimal part of them is realized and flows out through the narrowing opening. It is obvious that the unrealized part of life, which has not gone through the narrow opening of our behavior, must be somehow utilized and lived. The organism is in an equilibrium with its environment where balance must be maintained, just as it becomes necessary to open a valve in a kettle in which steam pressure exceeds the strength of the vessel. Apparently art is a psychological means for striking a balance with the environment at critical points of our behavior. Long ago the idea had been expressed that art complements life by expanding its possibilities. Von Lange says, â€Å"There is a sorry resemblance between contemporary civilized man and domestic animals: limitation and monotony. Issuing from the patterns of bourgeois  life and its social forms, these are the main features of the individual existence, which lead everybody, rich and poor, weak and strong, talented and deprived, through an incomplete and imperfect life. It is astonishing how limited is the number of ideas, feelings, and actions that modern man can perform or experience.† Lazurskii holds the same view when he explains the theory of empathy by referring to one of Tolstoy’s novels. â€Å"There is a point in Anna Karenina where Tolstoy tells us that Anna reads a novel and suddenly wants to do what the heroes of that novel do: fight, struggle, win with them, go with the protagonist to his estate, and so on.† Freud shares this opinion and speaks of art as a means of appeasing two inimical principles, the principle of pleasure and that of reality. Insofar as we are talking about the meaning of life, these writers come closer to the truth than those who, like Grant-Allen, assume that â€Å"aesthetics are those emotions which have freed themselves from association with practical interests.† This reminds us of Spencer’s formula: he assumed that â€Å"beautiful is what once was, but no longer is, useful.† Developed to its extreme limits, this viewpoint leads to the theory of games, which is accepted by many philosophers, and g iven its highest expression by Schiller. The one serious objection against it is that, in not recognizing art as a creative act, it tends to reduce it to the biological function of exercising certain organs, a fact of little importance for the adult. Much more convincing are the other theories which consider art an indispensable discharge of nervous energy and a complex method of finding an equilibrium between our organism and the environment in critical instances of our behavior. We resort to art only at critical moments in our life, and therefore can understand why the formula we propose views art as a creative act. If we consider art to be catharsis, it is perfectly clear that it cannot arise where there is nothing but live and vivid feeling. A sincere feeling taken per se cannot create art. It lacks more than technique or mastery, because a feeling expressed by a technique will never generate a lyric poem or a musical composition. To do this we require the creative act of overcoming the feeling, resolving it, conquering it. Only when this act has been performed – then and only then is art born. This is why the perception of art requires creativity: it is not enough to experience sincerely the feeling, or feelings, of the author; it is not enough to understand the structure of the work of art; one must also  creatively overcome one’s own feelings, and find one’s own catharsis; only then will the effect of art be complete. This is why we agree with Ovsianiko-Kulikovskii who says that the purpose of military music is not to arouse bellicose emotions but, by establishing an equilibrium between the organism and the environment at a critical moment for the organism, to discipline and organize its work, provide appropriate relief to its feelings, to chase away fear, and to open the way to courage and valor. Thus, art never directly generates a practical action; it merely prepares the organism for such action. Freud says that a, frightened person is terrified and runs when he sees danger; the useful part of this behavior is that he runs, not that he is frightened. In art, the reverse is true: fear per se is useful. Man’s release per se is useful, because it creates the possibility of appropriate flight or attack. This is where we must consider the economy of our feelings, which Ovsianiko-Kulikovskii describes thus: â€Å"The harmonic rhythm of lyrics creates emotions which differ from the majority of other emotions in that such ‘lyric emotions’ save our psychic energies by putting our ‘psychic household’ into harmonic order.† This is not the same economy of which we talked earlier, it is not an attempt to avoid the output of psychic energies. In this respect art is not subordinated to the principle of the economy of strength; on the contrary, art is an explosive and sudden expenditure of strength, of forces (psychic and otherwise), a discharge of ene rgy. A work of art perceived coldly and prosaically, or processed and treated to be perceived in this way, saves much more energy and force than if it were perceived with the full effect of its artistic form in mind. Although it is an explosive discharge, art does introduce order and harmony into the â€Å"psychic household,† of our feelings. And of course the waste of energy performed by Anna Karenina when she experienced the feelings and emotions of the heroes of the novel she was reading, is a saving of psychic forces if compared to the actual emotion. A more complex and deeper meaning of the principle of economizing emotions will become clearer if we try to understand the social significance of art. Art is the social within us [55], and even if its action is performed by a single individual, it does not mean that its essence is individual. It is quite naive and inappropriate to take the social to be collective, as with a large crowd of persons. The social also exists where there is only one  person with his individual experiences and tribulations. This is why the action of art, when it performs catharsis and pushes into this purifying flame the most intimate and important experiences, emotions, and feelings of the soul, is a social action. But this experience does not happen as described in the theory of contaminati on (where a feeling born in one person infects and contaminates everybody and becomes social), but exactly the other way around. The melting of feelings outside us is performed by the strength of social feeling, which is objectivized, materialized, and projected outside of us, then fixed in external objects of art which have become the tools of society. A fundamental characteristic of man, one that distinguishes him from animals, is that he endures and separates from his body both the apparatus of technology and that of scientific knowledge, which then become the tools of society. Art is the social technique of emotion, a tool of society which brings the most intimate and personal aspects of our being into the circle of social life. It would be more correct to say that emotion becomes personal when every one of us experiences a work of art; it becomes personal without ceasing to be social. â€Å"Art,† says Guyau, â€Å"is a condensation of reality; it shows us the human machine under high pressure. It tries to show us more life phenomena than we actually experience.† Of course this life, concentrated in art, exerts an effect not only on our emotions but also on our will â€Å"because emotion contains the seed of will.† Guyau correctly attributes a tremendous importance to the role played by art in society. It in troduces the effects of passion, violates inner equilibrium, changes will in a new sense, and stirs feelings, emotions, passions, and vices without which society would remain in an inert and motionless state. It â€Å"pronounces the word we were seeking and vibrates the string which was strained but soundless. A work of art is the center of attraction, as is the active will of a genius: if Napoleon attracts will, Corneille and Victor Hugo do so too, but in a different way. †¦ Who knows the number of crimes instigated by novels describing murders? Who knows the number of divorces resulting from representations of debauchery?† â€Å"Guyau formulates the question in much too primitive a way, because he imagines that art directly causes this or the other emotion. Yet, this never happens. A representation of murder does not cause murder. A scene of debauchery does not inspire divorce; the  relationship between art and life is very complex, and in a very approximate way it can be described as will be shown. Hennequin sees the difference between aesthetic and real emotion in the fact that aesthetic emotion does not immediately express itself in action. He says, however, that if repeated over and over again, these emotions can become the basis for an individual’s behavior; thu s, an individual can be affected by the kind of literature he reads. â€Å"An emotion imparted by a work of art is not capable of expressing itself in immediate actions. In this respect aesthetic feelings differ sharply from actual feelings. But, since they serve an end in themselves, they justify themselves and need not be immediately expressed in any practical activity; aesthetic emotions can, by accumulation and repetition, lead to substantial practical results. These results depend upon the general properties of aesthetic emotion and the particular properties of each of these emotions. Repeated exercises of a specific group of feelings under the effect of invention, imagination, or unreal rnoods or causes that generally cannot result in action do not require active manifestations, and doubtless weaken the property common to all real emotions, that of expression in action. †¦Ã¢â‚¬  â€Å"I Hennequin introduces two very important corrections, but his solution of the problem remains quite primitive. He is correct in saying that aesthetic emotion does not immediately generate action, that it manifests itself in the change of purpose. He is als o correct when he states that aesthetic emotion not only does not generate the actions of which it speaks, but is completely alien to them. On the basis of Guyau’s example, we could say that the reading of novels about murder not only does not incite us to murder, but actually teaches us not to kill; but this point of view of Hennequin’s, although it is more applicable than the former, is quite simple compared with the subtle function assigned to art. As a matter of fact, art performs an extremely complex action with our passions and goes far beyond the limits of these two simplistic alternatives. Andrei Bely says that when we listen to music we feel what giants must have felt. Tostoy masterfully describes this high tension of art in his Kreutzer Sonata: † Do you know the first place? Do you really know it?† he explains. Oh! †¦ A sonata is a frightening thing. Yes, this part, precisely. Music, generally, is a frightening thing. What is it? I don’t understand. What is music? What does it do? And why does it do whatever it does? They say that music elevates our  soul. Rubbish, nonsen se! It does work, it has a terrible effect (I am talking for myself, but it certainly does not lift the soul. It does not lift the soul, nor does it debase it, but it irritates it. How can I put it? Music makes me oblivious of myself; it makes me forget my true position; it transfers me into another position, not mine, not my own: it seems to me, under the effect of music, that I feel what I don’t feel, that I understand what I actually don’t understand, can’t understand. †¦ â€Å"Music immediately, suddenly, transports me into the mood which must have been that of the man who wrote it. I become one with him, and together with him I swing from one mood into another, from one state into another, but why I am doing it, I don’t know. That fellow, for instance, who wrote the Kreutzer Sonata, Beethoven, he knew why he was in that state. That state led him to certain actions, and therefore, for him, that state was sensible. For me, it means nothing, it is completely senseless. And this is why music only irritates and achieves nothing. Well, if I play a military march, the soldiers will march in step, and the music has achieved its purpose; if dance music is played, I dance, and the music achieves its purpose. Or, if Mass is sung and I take communion, well, here too the music has achieved its purpose; otherwise, it is only irritation, and no one knows what to do with this irritation. This is why music occasionally has such a horrible,terrifying effect. In China music is an affair of state, and this is how it should be †¦ â€Å"Otherwise it could be a terrifying tool in the hands of anybody. Take for instance the Kreutzer Sonata. How can one play its presto in a drawing room, amidst ladies in decollete? Play it, and then busy oneself, then eat some ice cream and listen to the latest gossip? No, these things can b e played only in the face of significant, important circumstances, and then it will be necessary to perform certain appropriate acts that fit the music. If it must be played, we must act according to its setting of our mood. Otherwise the incongruity between the place, the time, the waste of energy, and the feelings which do not manifest themselves will have a disastrous effect.† This excerpt from The Kreutzer Sonata tells us quite convincingly of the incomprehensibly frightening effect of music for the average listener. It reveals a new aspect of the aesthetic response and shows that it is not a blank shot, but a response to a work of art, and a new and powerful stimulus for further action. Art requires a reply, it incites  certain actions, and Tolstoy quite correctly compares the effect of Beethoven’s music with that of a dance tune or a march. In the latter case, the excitement created by the music resolves itself in a response, and a feeling of satisfied repose sets in. In the case of Beethoven’s music we are thrown into a state of confusion and anxiety, because the music reveals those urges and desires that can find a resolution only in exceptionally important and heroic actions. When this music is followed by ice cream and gossip amidst ladies in d’collet, we are left in a state of exceptional anxiety, tension, and disarray. But T olstoy’s character makes a mistake when he compares the irritating and stimulating effect of this music to the effect produced by a military march. He does not realize that the effect of music reveals itself much more subtly, by means of hidden shocks, stresses, and deformations of our constitution. It may reveal itself unexpectedly, and in an extraordinary way. But in this description, two points are made with exceptional clarity: First, music incites, excites, and irritates in an indeterminate fashion not connected with any concrete reaction, motion, or action. This is proof that its effect is cathartic, that is, it clears our psyche, reveals and calls to life tremendous energies which were previously inhibited and restrained. This, however is a consequence of art, not its action. Secondly, music has coercive power. Tolstoy suggests that music should be an affair of state. He believes that music is a public affair. One critic pointed out that when we perceive a work a work of art we think that our reaction is strictly personal and associated only with ourselves. We believe that it has nothing to do social psychology. But this is as wrong as the opinion of a person pays taxes and considers this action only from his own viewpoint own, personal budget, without bearing in mind that he participate the huge and complex economy of the state. He does not reflect that by paying taxes he takes part in involved state operations whose existence he does not even suspect. This is why Freud is wrong when he says that man stands face to face with the reality of nature, and that art be derived from the purely biological difference between the principle of enjoyment toward which all our inclinations gravitate, and that of reality which forces us to renounce satisfaction and pleasure. Between man and the outside world there stands the social environment, which in its own way refracts and directs the stimuli acting upon the individual and guides all  the reactions that emanate from the individual. applied psychology it is therefore of immense significance to know I as Tolstoy puts it, music is something awesome and frightening to average listener. If a military march incites soldiers to march proudly in a parade, what exceptional deeds must Beethoven’s music inspire! Let me repeat: music by itself is isolated from our everyday behavior; it does not drive us to do anything, it only creates a vague and enormous desire for some deeds or actions; it op ens the way for the emergence of powerful, hidden forces within us; it acts like an earthquake as it throws open unknown and hidden strata. The view that art returns us to atavism rather than projecting us into the future, is erroneous. Although music does not generate any direct actions, its fundamental effect, the direction it imparts to psychic catharsis, is essential for the kind of forces it will release, what it will release, and what it will push into the background. Art is the organization of our future behavior. It is a requirement that may never be fulfilled but that forces us to strive beyond our life toward all that lies beyond it. We may therefore call art a delayed reaction, because there is always a fairly long period of time between its effect and its execution. This does not mean, however, that the effect of art is mysterious or mystical or that its explanation requires some new concepts different from those which the psychologist sets up when he analyzes common behavior. Art performs with our bodies and through our bodies. It is remarkable that scholars like Rutz and Sievers, who studied perceptual proc esses and not the effects of art, speak of the dependence of aesthetic perception on a specific muscular constitution of the body. Rutz was the first to suggest that any aesthetic effect must be associated with a definite type of muscular constitution. Sievers applied his idea to the contemplation of sculpture. Other scholars mention a connection between the basic organic constitution of the artist and the structure of his works. From the most ancient times, art has always been regarded as a means of education, that is, as a long-range program for changing our behavior and our organism. The subject of this chapter, the significance of applied arts, involves the educational effect of art. Those who see a relationship between pedagogy and art find their view unexpectedly supported by psychological analysis. We can now address ourselves to the last problems on our agenda, those of the practical effect of art on life  and of its educational significance. The educational significance of art and its practical aspects may be divided into two parts. We have first criticism as a fundamental social force, which opens th e way to art, evaluates it, and serves as a transitional mechanism between art and society. From a psychological point of view, the role of criticism is to organize the effects of art. It gives a certain educational direction to these effects, and since by itself it has no power to influence the basic effect of art per se it puts itself between this effect and the actions into which this effect must finally resolve itself. We feet therefore that the real purpose and task of art criticism is different from its conventional one. Its purpose is not to interpret or explain a work of art, nor is its purpose to prepare the spectator or reader for the perception of a work of art. Only half of the task of criticism is aesthetic; the other half is pedagogical and public. The critic approaches the average â€Å"consumer† of art, for instance, Tolstoy’s hero in The Kreutzer Sonata, at the troublesome point when he is under the incomprehensible and frightening spell of the music and does not know what it will release in him. The critic wishes to be the organizing force, but enters the action when art has already had its victory over the human psyche which now seeks impetus and direction for its action. The dualistic nature of criticism obviously entails a dualistic task. The criticism which consciously and intentionally puts art into prose establishes its social root, and determines the social connec tion that exists between art and the general aspects of life. It gathers our conscious forces counteract or, conversely, to cooperate with those impulses which have been generated by a work of art. This criticism leaves the domain of art and enters the sphere of social life, with the sole purpose of guiding the aesthetically aroused forces into socially useful channels. Everyone knows that a work of art affects different people in different ways. Like a knife, or any other tool, art by itself is neither good nor bad. More precisely, it has tremendous potential for either good or evil. It all depends on what use we make of, or what task m sign to, this tool. To repeat a trite example: a knife in the hands surgeon has a value completely different from that of the same knife the hands of a child. But the foregoing is only half the task of criticism. The other half consists in conserving the effect of art as art, and preventing the read spectator from wasting the forces aroused by art by  substituting for its powerful impulses dull, commonplace, rational-moral precepts. Few understand why it is imperative not only to have the effect of art shape and excite the reader or spectator but also to explain art, and to explain it in such a way that the explanation does not fill the emotion. We can readily show that such explanation is indispensable, our behavior is organized according to the principle of unity, which is accomplished mainly by means of our consciousness in which any emotion seeking an outlet must be represented. Otherwise we risk creating a conflict, and the work of art, instead of producing a catharsis, would inflict a wound, and the person experiences what Tolstoy when his heart is filled with a vague, incomprehensible emotion of depression, impotence, and confusion. However, this does not mean that the explanation of art kills the trepidation of poetry mentioned by Longinus, for there are two different levels involved. This second element, the element of conservation of an artistic impression, has always been regarded by theoreticians as decisively important for art criticism but, oddly enough, our critics have always ignored it. Criticism has always approached art as if it were a parliamentary speech or a non-aesthetic fact. It considered its task to be the destruction of the effect of art in order to discover the significance of art. Plekhanov was aware that the search for the sociological equivalent of a work of art is only the first half of the task of criticism. â€Å"This means,† he said when discussing Belinskii, â€Å"that evaluation of the idea of a work of art must be followed by an analysis of its artistic merits. Philosophy did not eliminate aesthetics. On the contrary, it paved the way for it and tried to find a solid basis for it. This must also be said about materialistic criticism. In searching for the social equivalent of a given literary phenomenon, this type of criticism betrays its own nature if it does not understand that we cannot confine ourselves to finding this equivalent, and that sociology must not shut the door to aesthetics but, on the contrary, open it wide. The second action of materialistic criticism must be, as was the case with many critic-idealists, the evaluation of the aesthetic merits of the work under investigation †¦ The determination of the sociological equivalent of a given work of literature would be incomplete and therefore imprecise if the critic failed to appraise its artistic merits. In other words, the first action of materialistic criticism not only does not eliminate the need for  the second action, but requires it as a necessary and indispensable complement.† A similar situation arises with the problem of art in education: the two parts or acts cannot exist independently. Until recently, the public approach to art prevailed in our schools as well as in our criticism. The students learned or memorized incorrect sociological formulas concerning many works of art. â€Å"At the present time,† says Gershenzon, â€Å"pupils are beaten with sticks to learn Pushkin, as if they were cattle herded to the w atering place, and given a chemical dissociation of H20 instead of drinking water.† It would be unfair to conclude with Gershenzon that the system of teaching art in the schools is wrong from beginning to end. In the guise of the history of social thought reflected in literature, our students learned false literature and false sociology. Does this mean that it is possible to teach art outside the sociological context and only on the basis of individual tastes, to jump from concept to concept, from the Iliad to Maiakovskii? Eichenwaid seems to believe this, for he claims that it is impossible as well as unnecessary to teach literature in the schools. â€Å"Should one teach literature?† he asks. â€Å"Literature, like the other arts, is optional. It represents an entertainment of the mind. †¦ Is it necessary that students be taught that Tatiana fell in love with Onegin, or that Lermontov was bored, sad, and unable to love forever?† Eichenwald is of the opinion that it is impossible to teach literature and that it should be taken out of the school curriculum because it requires an act of creativity different from all the other subjects taught at school. But he proceeds from a rather squalid aesthetic, and all his weak spots become obvious when we analyze his basic position, â€Å"Read, enjoy, but can we force people to enjoy?† Of course, if â€Å"to read† means â€Å"to enjoy,† then literature cannot be taught and has no place in the schools (although someone once said that the art of enjoyment could also he taught). A school that eliminates lessons in literature is bound to be a bad school. â€Å"At the present time, explanatory reading has as its main purpose the explanation of the content of what is being read. Under such a system, poetry as such is eliminated from the curriculum. For instance, the difference between a fable by Krylov and its rendition in prose is Completely lost.† From the repudiation of such a position, Gershenzon comes to the conclusion: â€Å"Poetry cannot and must not be a compulsory subject of education; it is time that it again become a guest  from paradise on earth, loved by everyone, as was the case in ancient times. Then it will once again become the true teacher of the masses.† The basic idea here is that poetry is a heavenly guest and it must be made to resume the role it played â€Å"in ancient times.† But Gershenzon does not concern himself with the fact that these ancient times are gone forever, and that nothing in our time plays the same role it played then. He ignores this fact because he believes that art is fundamentally different from all the other activities of man. For him, art is a kind of a mystical or spiritual act that cannot be recreated by studying the forces of the. According to him, poetry cannot be studied scientifically.† One of the greatest mistakes of contemporary culture,† he says, â€Å"application of a scientific or, more precisely, a naturalistic method to the study of poetry.† Thus, what contemporary scholars consider to be the only possible way of solving the riddle of art is for Gershenzon the supreme mistake of contemporary culture. Future studies and investigations are likely to show that the i creating a work of art is not a mystical or divine act of our soul, I real an act as all the other movements of our body, only much complex. We have discovered in the course of our study that a creative act that cannot be recreated by means of purely conscious operations. But, by establishing that the most important elements in art are subconscious or creative, do we automatically eliminate any and all conscious moments and forces? The act of artistic creation cannot be taught. This does not mean, however, that the educator cannot cooper ate in forming it or bringing it about. We penetrate the subconscious through the conscious. We can organize the conscious processes in such a way that they generate subconscious processes, and everyone knows that an act of art includes, as a necessary condition, all preceding acts of rational cognizance, understanding, recognition, association, and so forth. It is wrong to assume that the later subconscious processes do not depend on the direction imparted by us to the conscious processes. By organizing our conscious, which leads us toward art, we insure a priori the success or failure of the work of art. Hence Molozhavy correctly states that the act of art is â€Å"the process of our response to the phenomenon, although it may never have reached the stage of action. This process †¦ widens the scope of our personality, endows it with new possibilities, prepares for the completed response to the phenomenon, that is, behavior, and also has educational  value †¦ Potebnia is wrong to treat the artistic image as a condensation of thought. Both thought and image are a condensation either of the conscious with respect to the phenomenon involved or of the psyche, which issued from a series of positions preparatory to the present position. But this gives us no right to confuse these biological elements, these psychological processes, on the basis of the vague argument that both thought and artistic image are creative acts. On the contrary, we must emphasize all the ir individual peculiarities in order to understand each as a part of the whole. The tremendous strength that arouses emotions, inspires the will, fortifies energy, and pushes us to action lies in the concreteness of the artistic image which is in turn based upon the originality of the psychological path leading to it.† These considerations need one substantial correction if we move from the field of general psychology into child psychology. When we determine the influence exerted by art, we must take into account the specific peculiarities facing one who deals with children. Of course this is a separate field, a separate and independent study, because the domain of child art and the response of children to art is completely different from that of adults. However, we shall say a few brief words on the subject and trace a basic line along which child psychology intersects this field. There are remarkable phenomena in the art of children. First, there is the early presence of a special structure required by art, which points to the fact that for the child there exists a psychological kinship between art and play. â€Å"First of all,† says Biihler, â€Å"is the fact that the child very early adopts the correct structure, which is alien to reality but required by the fairy tale, so that he can concentrate on the exploits of the heroes and follow the changing images. It seems to me that he loses this ability during so me period of his development, but it returns to him in later years. †¦Ã¢â‚¬  Apparently art does not perform the same function in a child as it does in an adult. The best example of this is a child’s drawing which in many cases is on the borderline of artistic creativity. The child does not understand that the structure of a line can directly express the moods and trepidations of the heart and soul. The ability to render the expressions of people and animals in different positions and gestures develops very slowly in a child, for various reasons. The principal one is the fundamental fact that a child draws patterns, not events or phenomena. Some claim the opposite, but they  seem to ignore the simple fact that a child’s drawing is not yet art for the child. His art is unique and different from the art of adults, although the two have one very interesting characteristic in common. It is the most important trait in art and we shall mention it in conclusion. Only recently was it noticed that certain absurdities or amusing nonsense which can be found in nursery rhymes by inverting the most commonplace events play a tremendously important role in child art. Most frequently the required or desired absurdity is achieved in a nursery rhyme by assigni ng certain functions of object A to object B, and vice versa. †¦ â€Å"The hermit asked me how many strawberries grow at the bottom of the ocean. I answered him: ‘As many as there are red herrings in the forest.’ To understand this nursery jingle the child must know the truth about life: herrings exist only in the ocean, and strawberries only in the forest. He begins to look for the absurd only when he is absolutely sure of the facts.† We, too, feel that the statement, that this aspect of child art comes very close to play, is true; as a matter of fact, it gives us a good explanation of the role and the significance of art in a child’s life. â€Å"We still do not quite understand the connection which exists between nursery rhymes and child’s play. †¦ When evaluating books for small children, critics frequently forget to apply the criterion of play. Most folk nursery rhymes do not issue from games but are play, a game in themselves: a play of words, a play of rhythms, sounds; †¦ these muddles always maintain some sort of ideal order. There is system in this folly. By dragging a child into a topsy-turvy world, we help his intellect work, because the child becomes interested in creating such a topsy-turvy world for himself in order to become more effectively the master of the laws governing the real world. These absurdities could be dangerous for a child if they screened out the real interrela tionships between ideas and objects. Instead, they push them to the fore, and emphasize them. They enhance (rather than weaken) the child’s perception of reality.† Here, too, we observe the same phenomenon of the dualism of art. In order to perceive art, we must contemplate simultaneously the true situation of things and their deviation from this situation. We can also observe how an effect of art arises from such a contradictory perception. Since absurdities are tools for the child to use in understanding reality, it becomes suddenly clear why the extreme leftists in art criticism come up with a slogan: art as a method  for building life. They say that art is building life because â€Å"reality is forged from the establishment and destruction of contradictions. When they criticize the idea of art as the cognition of life and advance the idea of a dialectic perception of the world through matter, they reach agreement with the psychological laws of art. â€Å"Art is an original, chiefly emotional †¦ dialectic approach to building life.† Now we can envision the role of art in the future. It is hard to guess what forms this unknown life of the future will take, and it is even harder to guess what place art will take in that future life. One thing is clear, however: arising from reality and reaching toward it, art will be determined by the basic order of the future flow of life. â€Å"In the future,† sa ys Friche, â€Å"the role of art is not likely to change substantially from its present role. Socialist society will not be the antithesis of capitalist society, but its organic continuation.† If we regard art as an embellishment or ornament of life, such a viewpoint is admissible. However, it basically contradicts the psychological laws of art. Psychological investigation reveals that art is the supreme center of biological and social individual processes in society, that it is a method for finding an equilibrium between man and his world, in the most critical and important stages of his life. This view of course completely refutes the approach according to which art is an ornament, and thereby leads us to doubt the correctness of the above statement. Since the future has in store not only a rearrangement of mankind according to new principles, not only the organization of new social and economic processes, but also the â€Å"remolding of man,† there seems hardly any doubt that the role of art will also change. It is hard to imagine the role that art will play in this remolding of man. We do not know which existing but dormant forces in our organisms it will draw upon to form the new man. There is no question, however, that art will have a decisive voice in this process. Without new art there can be no new man. The p ossibilities of the future, for art as well as for life, are inscrutable and unpredictable. As Spinoza said, â€Å"That of which the body is capable has not yet been determined.†