Kinship and marriage from a cross-cultural perspective Essay

Kinship and marriage from a cross-cultural perspective - Essay Example According to the research findings it can therefore be said that the Kinship as a word has different meanings and mostly used in contextual manner however, from the perspective of anthropology, it represents a web of social relationships which are required by a person to live in a society. It also outlines the affinity between different entities based upon some or all of the characteristics which are focused and studied. From the perspective of Anthropology, it is also important to understand that it signifies the study of patterns of social relationships within different human cultures or the patterns of social relationships within themselves. The patterns of relationship defined in kinship are either related by descent or by marriage. Relationships which arise as a result of the marriages are called affinity and are viewed differently from the relationships emerging as a result of descent. There has been however different social changes which have relatively altered the kinship nor ms within the society. The modernization and urbanization combined with the industrialization has actually weakened the affinity especially in terms of extended kinship. The recent theory on Kinship has actually redefined the way the overall concept is being viewed. There has been a critical change in the basic assumptions of kinship theory and more focus has been on understanding as to how to view kinship along with other social theory. This paper will discuss as to how various authors have actually defined the social change in the kinship in specific settings with special reference to government laws and recent globalization changes which are taking place globally. Social Change in Kinship Norms There has been a tremendous change in the way the overall literature on the social change in the kinship norms have changed over the period of time,. Lewis Morgan defined kinship as a form of social organization and focused upon defining it from the perspective of structures and functions. This approach was mostly focused upon defining how the various relationship structures actually emerged during the kinship including residence patterns, mating strategies etc. There has been a consistent evolution of the kinship and it started to shift from paternal to maternal source of power and prestige. Since mother was actively involved in the rearing of the children therefore in certain societies, these trends started to change. In some societies, the transfer of property and its ownership was also dependent upon the mother-child link. (Levine, 2008) D. Schneider however provided a critique of the same and suggested that kinship differs from culture to culture and kinship actually encompass different other domains of social life also include economic and political. His critique was important in the sense that it attempted to identify and root kinship into the broader perspective of cultural and social norms. It is also critical to note that he critically associated the symbol s and what meanings can be driven from these symbols. It is however important to understand that most of the Schneider’s work has been focused upon North America and Great Britain. For Schneider, America was a single system of kinship with symbols having same meanings to both the males as well as females. (Peletz, 1995) Carsten defined kinship from the perspective of culture of relatedness and suggested that the biological relationships are socially constructed. She argues about the social construction of the biological relationships and specially the intervention of State as one of the means through which biological relationships are defined. In countries like India, marriage and biological relationships are often based upon religious association of individuals and to which religious class they belong to. The biogenetic relatedness therefore may not be important as kinship can also be defined under the sexual preferences as well as the establishment of kinship based upon pos t-natal associations. Carsten therefore refutes the assumption of Schneider that there is a clear division between the biological and

Jewish American Literature Essay Example for Free

Jewish American Literature Essay Jewish American Literature holds an essential place in the literary history of the United States. It encompasses traditions of writing in English, primarily, as well as in other languages, the most important of which has been Yiddish. While critics and authors generally acknowledge the notion of a distinctive corpus and practice of writing about Jewishness in America, many writers resist being pigeonholed as Jewish voices. Also, many nominally Jewish writers cannot be considered representative of Jewish American literature, one example being Isaac Asimov. Beginning with the memoirs and petitions composed by the Sephardic immigrants who arrived in America during the mid 17th century, Jewish American writing grew over the subsequent centuries to flourish in other genres as well, including fiction, poetry, and drama. The first notable voice in Jewish- American literature was Emma Lazarus whose poem ‘The New Colossus’ on the Statue of Liberty became the great hymnal of American immigration. Gertrude Stein became one of the most influential prose-stylists of the early 20th century. The early twentieth century saw the appearance of two pioneering American Jewish novels: Abraham Cahans The Rise of David Levinsky and Henry Roth’s Call it Sleep. It reached some of its most mature expression in the 20th century ‘Jewish American novels’ by Saul Bellow, J. D. Salinger, Norman Mailer, Bernard Malamud, Chaim Potok, and Philip Roth. Their work explored the conflicting pulls between secular society and Jewish tradition which were acutely felt by the immigrants who passed through Ellis Island and by their children and grandchildren. More recent authors like Nicole Krauss, Paul Auster, Michael Chabon, Jonathan Safran Foer andArt Spiegelman have continued to examine dilemmas of identity in their work, turning their attention especially to the Holocaust and the trends of both ongoing assimilation and cultural rediscovery exhibited by younger generations of American Jews. Arguably the most influential of all American- Jewish novels was Leon Uris Exodus. Its story of the struggle to create the modern state of Israel translated into Russian became the inspiration for hundreds of thousands of Russian immigrants to Israel. Modern Jewish American novels often contain (a few or many) Jewish characters and address issues and themes of importance to Jewish American society such as assimilation, Zionism/Israel, and Anti-Semitism, along with the recent phenomenon known as New Anti-Semitism. Two Jewish- American writers have won the Nobel Prize, Isaac Bashevis Singer and Saul Bellow. Bernard Malamud is considered one of the most prominent figures in Jewish –American literature. BERNARD MALAMUD ( 1914-1986). Malamud’s stories and novels, in which reality and fantasy are frequently interfaced have been compared to parables, myths and analogies and often illustrate the importance of moral obligation. Although he draws upon his Jewish heritage to address the themes of sins, suffering, and redemption, Malamud emphasizes human contact and compassion over orthodox religious dogma. Malamud’s characters, while often awkward and isolated from society, evoke both pity and humor through their attempts at survival and salvation. Sheldon J. Hershinow observed: â€Å"Out of the everyday defeats and indignities of ordinary people, Malamud creates beautiful parables that capture the joy as well as the pain of life; he expresses the dignity of the human spirit searching for freedom and moral growth in the face for hardship, injustice, and the existential anguish of life. BIOGRAPHY Malamud was born on April 28, 1914, in Brooklyn, New York, to Russian Jewish immigrants. His parents, whom he described as â€Å"gentle, honest, kindly people,† were not highly educated and knew very little about literature of the arts: â€Å"There were no books in the house, no records, music, pictures on the wall. † Malamud attended high school in Brooklyn and received his bachelor’s degree from the City College of New York in 1936. After graduation, he worked in a factory and as a clerk at the central bureau in Washington, D. C. Although he wrote in his spare time, Malamud did not begin writing seriously until the advent of the Second World War and the subsequent horrors of the Holocausts. He questioned his religious identity and started reading about Jewish tradition and history . He explained: â€Å"I was concerned with what Jews stood for, with their getting down to the bare  bones of things. I was concerned with their ethnically –how Jews felt for they had to live order to go on living. † In 1949, he began teaching at Oregan State University; he left this post in 1961 to teach creative writing at Bennington College in Vermont. He remained there until shortly before his death in 1986. Starting in 1949, Malamud taught four sections of freshman composition each semester at Oregon State University (OSU), an experience fictionalized in his 1961 novel ‘A New Life’. Because he lacked the Ph. D., he was not allowed to teach literature courses, and for a number of years his rank was that of instructor. In those days, OSU, a land grant university, placed little emphasis on the teaching of humanities or the writing of fiction. While at OSU, he devoted 3 days out of every week to his writing, and gradually emerged as a major American author. In 1961, he left OSU to teach creative writing at Bennington College, a position he held until retirement. In 1967, he was made a member of the American Academy of Arts and Sciences. In 1942, Malamud met Ann De Chiara (November 1, 1917 March 20, 2007), an Italian-American Roman Catholic, and a 1939 Cornell University graduate. They married on November 6, 1945, despite the opposition of their respective parents. Ann typed his manuscripts and reviewed his writing. Ann and Bernard had two children, Paul (b. 1947) and Janna (b. 1952). Janna Malamud Smith is the author of a memoir about her father, titled My Father is a Book. Malamud died in Manhattan in 1986, at the age of 71. WORKS OF MALAMUD Malamud’s first novel, ‘The Natural’ (1952 ) ,is considered one of his most symbolic works . While the novel ostensibly traces the life of Roy Hobbs, an American baseball player , the work has underlying mythic elements and explores such themes as initiation and isolation. For instance, some reviewers cited evidence of the Arthurian legend of the Holy Grail; others applied T. S. Eliot’s ‘wasteland’ myth in their analyses ‘The Natural’ also foreshadows what would become Malamud’s predominant narrative focus: a suffering protagonist struggling to reconcile moral dilemmas, to act according to what is right, and to accept the complexities and hardships of existence. Malamud‘s second novel, ‘The Assistant’ (1957), portrays the life of Morris Bober, a Jewish immigrant who owns a grocery store in Brooklyn. Although he is struggling to survive financially, Bober hires a cynical anti-semitic youth, Frank Aloine after learning that the man is homeless and on the verge of starvation. Through this contact Frank learns to find grace and dignity in his own identity. Described as naturalistic fable, this novel affirms the redemptive value of maintaining faith in the goodness of the human soul. Malamud’s first collection of short stories, ‘The Magic Barrel’, (1958) was awarded the National Book award in 1959. Like ‘The Assistant’, most of the stories in this collection depict the search for hope and meaning within the grim entrapment of poor urban settings and were influenced by Yiddish folktales and Hasidic traditions. Many of Malamud’s best known short stories, including ‘The Last Mohican’, ‘Angel Levine’, and ‘Idiots First’, were republished in ‘The Stories of Bernard Malamud’ in 1983. ‘A New Life’ (1961), considered one of Malamuds most true-to-life novels, is based in part on Malamuds teaching career at Oregon State University. This work focuses on an ex-alcoholic Jew from New York City who becomes a professor at a college in the Pacific Northwest. It examines the main characters search for self-respect, while poking fun at life at a learning institution. Malamuds next novel, ‘The Fixer’ (1966), is one of his most powerful works. The winner of both the Pulitzer Prize and the National Book Award, this book is based on the historical account of Mendel Beiliss, a Russian Jew who was accused of murdering a Christian child. With ‘The Tenants’ (1971), Malamud returns to a New York City setting in a contrast between two writers—one Jewish and the other African American—struggling to survive in an urban ghetto. Malamud further addresses the nature of literature and the role of the artist in ‘Dublin’s Lives’ (1979). In this work, the protagonist, William Dublin, attempts to create a sense of worth for himself, both as a man and as a writer. Malamuds last finished novel, ‘Gods Grace’ (1982), studies both the original Holocaust and a new, imagined Holocaust of the future. The novel is a wild, at times brilliant, at times confusing, description of a flood similar to that in the Bible story of Noahs ark. Malamud continued to place stories in top American magazines. Mervyn Rothstein reported in the New York Times that Malamud said at the end of his life, With me, its story, story, story. In Malamuds next-to-last collection, ‘Rembrandts Hat’, only one story, ‘The Silver Crown’, deals with Jewish themes. Malamud is also renowned for his short stories, often oblique allegories set in a dreamlike urban ghetto of immigrant Jews. Of Malamud the short story writer, Flannery OConnor wrote: I have discovered a short-story writer who is better than any of them, including myself. He published his first stories in 1943, ‘Benefit Performance’ in Threshold and ‘The Place Is Different Now’ in American Preface. In the early 1950s, his stories began appearing in Harpers Bazaar, Partisan Review, and Commentary. ‘The Magic Barrel’ was his first published collection of short stories (1958) and his first winner of his first National Book Award for Fiction. Most of the stories depict the search for hope and meaning within the bleak enclosures of poor urban settings. The title story focuses on the unlikely relationship of Leo Finkle, an unmarried rabbinical student, and Pinye Salzman, a colorful marriage broker. Finkle has spent most of life with his nose buried in books and therefore isn’t well-educated in life itself. However, Finkle has a greater interest – the art of romance. He engages the services of Salzman, who shows Finkle a number of potential brides from his magic barrel but with each picture Finkle grows more uninterested. After Salzman convinces him to meet Lily Hirschorn, Finkle realizes his life is truly empty and lacking the passion to love God or humanity. When Finkle discovers a picture of Salzman’s daughter and sees her suffering, he sets out on a new mission to save her. Other well-known stories included in the collection are: ‘The Last Mohican’, ‘Angel Levine’, ‘Idiots First’, and ‘The Mourners’. This last story focuses on Kessler, the defiant old man in need of social security and Gruber, the belligerent landlord who doesnt want Kessler in the tenement anymore. Malamud’s fiction touches lightly upon mythic elements and explores themes like isolation, class, and the conflict between bourgeois and artistic values. His prose, like his settings, is an artful pastiche of Yiddish-English locutions, punctuated by sudden lyricism. Writing in the second half of the twentieth century, Malamud was well aware of the social problems of his day: rootlessness, infidelity, abuse, divorce, and more. But he also depicted love as redemptive and sacrifice as uplifting. In his writings, success often depends on cooperation between antagonists. For example, in The Mourners landlord and tenant learn from each others anguish. In ‘The Magic Barrel’, the matchmaker worries about his fallen daughter, while the daughter and the rabbinic student are drawn together by their need for love and salvation. Malamuds third story ‘Rembrandts Hat’ collection is noteworthy for its consistently pessimistic tone and theme of failed communication in stories such as ‘My Son the Murderer’, ‘The Silver Crown’, and ‘The Letter’. ‘The volume The People’, and ‘Uncollected Stories’ contains an unfinished novel about a Russian Jewish peddler in the American West who becomes a marshal and is kidnapped by Indians. It also includes fourteen stories written between 1943 and 1985. LIST OF OTHER NOTABLE JEWISH AMERICAN WRITERS †¢ Aimee Bender — novelist and short story writer, known for her often fantastic and surreal plots and characters †¢ Saul Bellow, novelist that won the Pulitzer Prize, the Nobel Prize for Literature, and the National Medal of Arts †¢ Bernard Cooper, novelist, short story writer †¢ E. L. Doctorow, novelist †¢ Richard Ellmann, literary critic, won National Book Award for Nonfiction †¢ Barthold Fles, literary agent and non-fiction writer †¢ Emma Goldman, anarchist writer †¢ Joseph Heller, author of Catch-22 †¢ Christopher Hitchens, literary critic and political activist †¢ Irving Howe, literary critic †¢ Roger Kahn. The Boys of Summer 1972 †¢ Jerzy Kosinski, author of The Painted Bird †¢ Emma Lazarus, poet and novelist †¢ Fran Lebowitz, author, known for her sardonic social commentary on American life through her New York sensibilities †¢ Seymour Martin Lipset, political sociologist. †¢ Reggie Nadelson, novelist known particularly for her mystery works †¢ Mark Obama Ndesandjo, author, half-brother of President Barack Obama †¢ Cynthia Ozick, short story writer, novelist, and essayist †¢ Jodi Picoult, novelist †¢ Ayn Rand, novelist and founder of Objectivism †¢ Lea Bayers Rapp, non-fiction and childrens fiction writer †¢ Philip Roth, known for autobiographical fiction that explored Jewish and American identity. †¢ Norman Rosten, novelist †¢ J. D. Salinger, author of The Catcher in the Rye †¢ Gary Shteyngart (born 1972) Russian-born writer †¢ Isaac Bashevis Singer, leading figure in Yiddish literature, won Nobel Prize †¢ George Steiner (born 1929) literary critic †¢ Daniel Stern, novelist] †¢ Leopold Tyrmand, writer †¢ Judith Viorst (born 1932) author, known for her childrens literature †¢ Elie Wiesel, Holocaust survivor and author of 57 books CONCLUSION The situation and the position of the Jewish-American writer have always been different from that of the other ethnicities in America and still remain so until today. One difference is highlighted by a comparison with the African-American writers. The marginal position of black authors has disappeared on the book market in the United States, but the themes of alienation and anger will not vanish as readily from their works. Instead of integration into the Literary and artistic mainstream, black writers and artists wanted, especially since the Black Arts Movement of the 1960s, to arrive at their own forms of literary expression which would have direct relevance for their lives. They wished to answer the question of their relationship to white mainstream culture by implementing a multicultural strategy: their literature is not that of assimilation, but in many ways that of establishing difference, separatism, and cultural resistance. While with the African-American writers there is no sense of the success or even desirability of social and cultural integration into the predominantly white mainstream of American society, many Jewish-American authors felt it as necessary and desirable, and as a result even managed to acquire it. Indeed, a great number of contemporary Jewish-American writers such as Norman Mailer, Saul Bellow, Joseph Heller, Bernard Malamud, Arthur Miller, Philip Roth and others have had literary success. The language employed by these writers is standard American English, they are socially accepted, and their works are read by a wide Jewish and non-Jewish audience. For this reason it is widely considered that their texts form part of a recognized literary canon, and belong to the American literary center or mainstream, as far as this may still be defined today. As much as we agreed to this idea we cannot ignore several facts which underline the necessity to view Jewish American literary productions as shaped by strong ethnic forces, and Jewish American literature as both belonging to and standing out in the multicultural American landscape. BIBLOGRAPHY Books Sanford, Sternlicht Masterpieces of Jewish American Literature Cristina, Nilsson Jewish American Literature: Bernard Malamud, Philip Roth and Cynthia Ozick Websites http://en. wikipedia. org http://www. swiftpapers. com http:// Top of Form.

Coach Variables Effect on Motivation and Performance

Coach Variables Effect on Motivation and Performance An Experimental study of the Independent and Interactive Effects of ‘Coach Variables’ on the motivation and performance of Rugby ‘Forwards’ INTRODUCTION Rugby is a hugely popular international sport (UKRFU[1], 2006; USARFU[2], 2006). Two teams of 13 players each, play the sport by kicking, passing, or carrying a ball. In order to win a team must score more ‘points’ than its opponent. Points can be achieved by a ‘try’ (5 points) or a ‘goal’ (3 points). The former entails touching the ball to the ground beyond a line in the opponents half (more points can be earned by performing a ‘place kick’ or drop kick’ conversion). A goal involves kicking the ball over the opponents cross bar (in the form of a penalty kick or drop kick). It is essential that the players are motivated. Research has shown that player motivation is partly dependent on coach variables (Tammen, 1997; Allen Howe, 1998; Cumming, 2002; Reinboth et al, 2004). In particular player aggressiveness, an important aspect of rugby, is influenced by coach input (Abd-Aziz, 1998; Guivernau-Rojas, 2001). Certain coaches are better able to ‘drive’ their players to victory than other coaches, for example by providing better feedback, frequent praise and encouragement, tactical advise, and corrective information. How players perceive their coach is critical (Mavi, 2004). Social psychological on literature (Norman, 1976; Lui Standing, 1989; Aronson, 1995; Eagly Chaiken, 1993; Pornpitakpan, 2004) suggests that characteristics such as credibility, likeability, and trustworthiness, may significantly determine a coaches’ motivational effectiveness. For example, a likeable coach may be more effective at encouraging his ‘forwards’ (‘tight-five’/’front five’ and ‘loose forwards’) to achieve successful try’s and goals. A review of the relevant literature (e.g. ‘PsychINFO’, ‘Academic Search Premier’), revealed a paucity of rugby research in this area. AIMS/HYPOTHESES The study proposed here aims to evaluate the effects of coach variables – credibility, likeability, and trustworthiness – on the performance of rugby players, particularly the ‘tight-five’/‘front-five’ and ‘loose forwards’. Consistent with previous research on communicator variables (e.g. Pornpitakpan, 2004), the following hypotheses are proposed with respect to player/team performance: A credible will achieve more try’s/goals than a non-credible coach. A trustworthy coach will achieve more try’s/goals than an untrustworthy coach. A likeable coach will achieve more try’s/goals than a disliked coach. Interactions (two-way and three-way) between these coach characteristics will influence the achievement of try’s/goals. METHODOLOGY Setting The study will be set up as a field experiment. The setting will be the premises of several local rugby clubs. Design The study will be based on a between-groups experimental design. There will be three independent variables: coach expertise (high/low/placebo/no treatment control), likeability (high/low), and trustworthiness (high/low). This will translate into a 4 x 2 x 2 between groups factorial design, using multivariate analysis of covariance (Coolican, 1994). Thus, in effect, there will be 16 experimental conditions. The dependent variables will consist of players reported motivation (after a match) and the number of successful try’s and goals during a match. Attempts will be made to control for important background variables, including player experience, weight, height, and, baseline motivational levels, and score history. Sample The sample will comprise several different teams of rugby players, recruited from schools, universities, and clubs in the local area. The target (i.e. minimum) sample size is 160 players, with at least 10 players per factorial cell. Stimulus Materials Prior arrangements would have been made with team officials to substitute the original team coaches with a stooge coach. Players will be informed that a new coach will temporarily ‘substitute’ their regular coach, who is unable to attend due to a prior family engagement. Two or three stooge coaches will be used, one for each team. Manipulation of independent variables will occur as follows: (Expertise): players will be informed by the researcher that their new coach is an ex-rugby player with either ≠¥10 years coaching experience or a newly qualified coach with (Likeability): Each stooge coach will act in either a friendly fashion (e.g. smiling, encouraging players), or an unfriendly manner (frowning, denigrating players). (Trustworthiness): Players will be informed either that the stooge coach is getting paid a substantial amount of cash for this one-off job, or is working for free (Aronson, 1995, pp.80-81). (Placebo): Players will receive irrelevant information about the stooge coach (e.g. where they live and marital status), who will act in neutral fashion (i.e. neither friendly or unfriendly). (Control): No information will be provided about the stooge coach, who will try to act in a neutral fashion. A self-report questionnaire will be used to collect baseline data from players on the following: perceived expertise, trustworthiness, and likeability of the stooge coach, and background variables including prior rugby experience, weight, height and score history. This questionnaire will also be used to assess current (i.e. pre-treatment) motivational levels and perform manipulation checks for each coach variable (i.e. expertise, likeability, trustworthiness). The study will be carried out during a series of rugby matches played in the local area. A ‘Game Day Check List’ (USARFU, 2006) will be used to work out the most appropriate time to brief players. Prior to each match each participating rugby team will be randomly assigned to one experimental condition. Particular attention will be paid to the ‘forwards’ or ‘pack’ (i.e. players 1-8). Players will be asked to complete the baseline questionnaire, as part of a general survey on the profile and interests of rugby players in the UK. They will also be informed about the use of a substitute coach, and given the appropriate background information regarding expertise and trustworthiness. After each match players will complete the baseline questionnaire, and then be debriefed. Data will be analysed using a multivariate analysis of covariance (MANCOVA), performed on SPSS (Field, 2002). Background variables will be treated as the covariates (i.e. control variables). A local Ethics Committee will review this project. It will conform to ethical guidelines of the British Psychological Society (BPS, 1993). Thus, the study will not involve any unnecessary deception, invasion of privacy, pain, injury, or discomfort, or violation of any legal requirements. Furthermore, all information collected from subjects will be strictly confidential. TIME SCALE The study will be conducted over a 12 month period. Month 1: Pilot study Month 2 to 3: Administration of Stimulus Materials Data Collection Month 4 to 5: SPSS Data Entry, Editing, and Analysis (MANCOVA) Month 6 to 8: Write Up Month 9 + : Dissemination of Findings DISSEMINATION OF FINDINGS Findings will be disseminated through conference presentations and Journal publications. It is planned that a paper will be presented at the 12th European Congress of Sports Psychology (4-7 September, 2007, Halkidiki, Greece). A paper will also be submitted to the Journal of Applied Sports Psychology or British Journal of Sports Medicine or International Journal of Sports Psychology, all of which are particular useful outlets for targeting academic audiences. REFERENCES Abd-Aziz, S.B. (1998) Aggressive tendencies in Malaysian youth soccer: an  examination of individual and contextual factors. Dissertation Abstracts  International: Section A:- Humanities and Social Sciences. 59 (5-B), 2480. Allen, J. Howe, B.L. (1998) Player ability, coach feedback, and female adolescent  athletes’ perceived competence and satisfaction. Journal of Sport Exercise  Psychology 20, pp.280-299. Aronson, E. (1995) The Social Animal. New York: Freeman. BPS (1993) Code of Conduct, Ethical Principles and Guidelines. Leicester: British  Psychological Society. Coolican, H. (1994) Research Methods and Statistics in Psychology. London: Hodder   Stoughton. Cumming, S.P. (2002) A bio-psychosocial investigation of self-determined  motivation in recreational and travel youth soccer programs. Dissertation  Abstracts International: Section A:- Humanities and Social Sciences. 63 (5-A), 1765. Eagly, A.H. Chaiken, S. (1993) The Psychology of Attitudes. Fort Worth, TX:  Harcourt Brace Jovanovich. Field, A. (2002) Discovering Statistics using SPSS for Windows. London: Sage. Guivernau-Rojas, M. (2001) The impact of motivational and moral variables on  aggressive tendencies in sport. Dissertation Abstracts International: Section  A:- Humanities and Social Sciences. 62 (6-B), 2990. Lane, A.M., Rodger, J.S.E. Karageorghis, C.L. (1997) Antecedents of state anxiety  in rugby. Perceptual and Motor Skills. 84, pp.427-433. Lui, L. Standing, L.G. (1989) Communicator credibility: trustworthiness defeats  expertness. Social Behaviour Personality. 17, pp. 219-221. Mavi, H.F. (2004) The relationship among dispositional, contextual variables, and  intrinsic motivation in high school teams sports. Dissertation Abstracts  International: Section A:- Humanities and Social Sciences. 65 (3-A), 876. Norman, R. (1976) When what is said is important: a comparison of expert and  attractive sources. Journal of Experimental Social Psychology. 12, pp.294-300. Pornpitakpan, C. (2004) The persuasiveness of source credibility: a critical review of  five decades’ evidence. Journal of Applied Social Psychology. 34, pp.243-281. UK Rugby Football Union (2006) Play [online] RFU Official Site,  http://www.community-rugby.com/communityrugby/index.cfm/Fuseaction/Home.Home/StoryTypeId/98/SectionId/575.cfm [Accessed 31 July 2006] USA Rugby Football Union (2006) USA Rugby [online] Rugby Channel,  http://www.usarugby.org/collegiate/manage/gameDayChecklist.html  [Accessed 1 August 2006]. Tammen, V.V. (1997) Coach and athlete goal orientations: congruence of orientations  and affects on athlete satisfaction and commitment. Dissertation Abstracts International: Section A:- Humanities and Social Sciences. 57 (11-A), 4687. Footnotes [1] UK Rugby Football Union [2] USA Rugby Football Union

Freely Loving the Highest Good Essay -- Analysis, Augustines View

One of the inquiries that is often raised in the topic of the will is the account of humans not loving and turning away from the highest good. By this, I mean that there is a relation between the freedom of the will and human beings not having a rightly ordered love, that is, to love the wrong thing. According to Augustine’s philosophy, the chain of iniquity is self-forged by our divided will, also referred to as the divided house. In Book XII of â€Å"City of God† Augustine declares it pointless to look for the cause of the evil will. For the cause, he argues, is â€Å"deficient,† not â€Å"efficient.† In supporting Augustine’s view, I will provide my own examples and arguments in order to strengthen his claims. Before I can expostulate on the issues of the divided will, and the reward for freely willing to love the highest good, I will explain what Augustine means by â€Å"deficient† as opposed to† efficient† cause as the foun dation of the divided house. Deficient Cause vs. Efficient Cause Often times, actions are analyzed by rational explanation or causal explanation. Rational explanation attempts to construe an action by the aims a person might presently have in his mind. Causal explanation attempts to find the cause for that particular action. Augustine thinks it is absurd to locate the cause of the evil will. Perhaps, we should take into account Augustine’s view about â€Å"The First Sin,† when the defection of the bad angels was first encountered. â€Å"In the beginning when God created the heavens and the earth†¦ And God saw that it was good† (NRSV, Genesis 1). If the Bible states that God created everything good because He is good, then evil, according to Augustine, is the absence of good and does not have any positive being--- defective and lack ... ...ents, love God above all and love your neighbor as yourself, indicate that we should love the most what is objectively the best. Pride is a perverse kind of self-love and a feature of the will. Pride was the deficient cause of Satan freely choosing himself over God and continues to be a relevant cause for humans as result of â€Å"The Original Sin.† In redemption, Jesus Christ, a model of humility, was the Second Adam who because of grace sacrifices Himself to bear and forgive humans of sin. I believe that we can choose to will good or to will evil. To freely will the love for the ultimate good means to willingly love God above all. Although our nature is subject to pride and is deficient in goodness, we can still choose what is good. By having this rightly ordered love , we choose the highest good. As a reward, God gives the gift of true happiness in the afterlife.

The Great Gatsby :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Francis Scott Key Fitzgerald, author of The Great Gatsby, was born on September 24, 1896. He later became one of the world known authors by having his books translated to different languages and printed.. He was often described as the drunken author, or the ruined novelists at the time. Yet, his books attract attention of people who have read his books that he has written. Fitzgerald used the American Dream, past relationships with love, and the people in his life, to create The Great Gatsby, that became one of the best books written during the Jazz Age.   Ã‚  Ã‚  Ã‚  Ã‚  First of all, The Great Gatsby introduces more of the American Dream and hope of wealth. For example, when Fitzgerald was a youngster, he fantasized that he was rich and had a life of ease (Oxford 44). Fitzgerald’s dream for wealth and happiness was something that meant a lot to people of that time. He sees it as the key to his future, making life for him better. In addition, Fitzgerald’s omen was the loneliness of Gatsby pursuing his impossible dream (Kazen K2). Gatsby was rich, but his life wasn’t complete, he was missing something in his life. Soldiers of past wars enjoyed The Great Gatsby because of Gatsby’s dream and will. All in all, Fitzgeralds use of the American Dream was very successful.   Ã‚  Ã‚  Ã‚  Ã‚  Secondly, Fitzgerald used this experience with love to create emotion in his books. For instance, Fitzgerald was determined to win the heart of a young lady named Zelda (Oxford 46). He used this in The Great Gatsby to show the devotion of Gatsby’s love for Daisy. By doing so Fitzgerald creates a romantic theme in the story. Later in time, Fitzgerald found that Zelda was having an affair with another man (Oxford D7). Once he found out, his life was not the same anymore. He became an alcoholic full with problems in his life. I believe this is where Tom Buchannon’s relationship with Daisy became a reality to him. To sum it up Fitzgerald felt love and pain and expressed it in his works of literature.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Finally, Fitzgerald experienced influences throughout his life, which changed his future. Particularly, Father Sigourney Fay was the one who gave advice and wisdom to him (F. Scott Fitzgerald 679). Father Fay was someone who watched Scott and told him what was right and what was wrong in life. His advice and help gave Fitzgerald the sense to achieve high goals and dreams. In addition, he was successful as a novelist, but was corrupted by his lifestyle (F. Scott Fitzgerald 683).

An Annotation of Anne Bradstreets In Memory of My Dear Grandchild Elizabeth Bradstreet :: Memory My Dear Grandchild Elizabeth Bradstreet

An Annotation of Anne Bradstreet's In Memory of My Dear Grandchild Elizabeth Bradstreet This poem is a firsthand account of how Anne Bradstreet was feeling when she experienced the loss of her granddaughter, Elizabeth. Although Bradstreet's attitude on Elizabeth's death seems to reflect her belief in God's plan, the diction suggests otherwise. In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665, Being a Year and Half Oldby Anne Bradstreet 1 Farewell dear babe, my heart's too much content, Farewell sweet babe, the pleasure of mine eye, Farewell fair flower that for a space was lent, Then ta'en away unto eternity. Blest babe, why should I once bewail thy fate, Or sigh thy days so soon were terminate, Sith thou art settled in an everlasting state. 2 By nature trees do rot when they are grown, And plums and apples thoroughly ripe do fall, And corn and grass are in their season mown, And time brings down what is both strong and tall. But plants new set to be eradicate, And buds new blown to have so short a date, Is by His hand alone that guides nature and fate. Bradstreet begins the poem by describing how she felt for her granddaughter, and this is seen in the way she describes Elizabeth as a "babe" and "flower." In phrases such as "my heart's too much content" and "the pleasure of mine eye," it is quite clear that she felt deeply for the little girl. It is obvious that a grandmother would be deeply saddened by the loss of her grandchild. However, the poem shifts focus from what Elizabeth meant to her grandmother to how Bradstreet sees this death. The repetition of "farewell" emphasizes the tragedy of the situation and solidifies the fact that she is gone. She continues to say goodbye as though this little girl died before she should have. This declaration continues when Bradstreet describes her as a "fair flower that for a space was lent." In using the word "lent," it sounds as though the girl was robbed of the fullness of life and never had the opportunity to live. But who decides who gets to live? God. What Bradstreet is really saying is that God didn't let her granddaughter live, and, resultantly, she is marking his decision as a mistake by complaining about it. This is not characteristic for one of such alleged concrete beliefs in God. The fact that Bradstreet mentions that she should not complain of the loss because she is in "an everlasting state" questions her religious sincerity.

The Death of the Moth Analysis

Life is a constant struggle against the ever present chill of death. Fear, betrayal, and cowardice all stems from life’s distaste of death. Human beings naturally rebuke the unknown, so it is only logical that people fight the inevitability of death. However, most people are ignorant of the reality of one day dying, prompting writer Virginia Woolf to write the essay, â€Å"The Death of the Moth†, in order to convey the frailty of life whilst also showing the awesome might of death.In the essay, her main purpose is to show that the moth embodies the human race, and that death is an inevitable fact of life no matter how much the human race struggles to stay alive. Woolf is able to get her purpose across by utilizing her unique style of writing. This is achieved by sympathizing with the moth throughout the essay, switching the narration between her internal personal struggles and external struggles of the moth, and changing the entire tone of the essay when the different t hemes of life and death are explored.Using her distinct writing style, Woolf delves into the wonders of life, and the ever present battle against death. One of the techniques Woolf uses in her writing style is employing empathy within the readers. She strives to create an emotional connection between the reader and the subject of the essay. In this case, Woolf directs her use of empathy with the main character of the story, which is the moth. Even before delving into the life of the moth, Woolf begins to refer to the moth as â€Å"he† instead of â€Å"it†, suggesting that the reader relates to the moth on a more personal level, rather than viewing him as just another insignificant bug.This creates a personal bond between the reader and the moth, resembling that of a companionship. Instantly, Woolf has been able to get the audience interested and emotionally invested in her essay by simply referring to the moth as a â€Å"he†. Furthermore, she proceeds to observe this moth closely, refusing to divert her attention to the happenings around her. As the moth lives his carefree life by vibrantly flying around, Woolf cannot help but pity the insignificance he has in the grand scale of things. ‘â€Å"One could not help watching him. One, was, indeed, conscious of a queer feeling of pity for him.The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth’s part in life, and a day moth’s at that, appeared a hard fate, and his zest in enjoying his meager opportunities to the full, pathetic’† (Woolf 1). She continually pities the fact that the moth continues to make the most of his desperate and futile situation. No matter his frailty and impending doom, the moth continues to carelessly dance around the windowpane, either because he is unaware that he will soon die, or because he chooses not to care about his demise.However, Woolf begins to realize that the moth’s stre ngth is failing him, and she comes to the cold conclusion that he is at death’s door. Not soon after that, the moth senses that his strength is failing him, but even upon knowing his inevitable death, the moth continues to fight. Woolf’s heart goes out to the insect. ‘â€Å"It was superb this last protest, and so frantic that he succeeded at last in righting himself. One’s sympathies, of course, were all on the side of life (Woolf 2)’†. She resolves to root for the moth, and applaud his final protest against death.By the use of her writing style, Woolf has caused the audience to root for the moth’s final efforts along with her. By getting so emotionally invested in this moth, the audience realizes that no matter what happens, death will win, which saddens the readers. Their fellow comrade will fall, and it alerts everybody of the harshness of the situation. In reality people fight to live, but everyone will die just like that moth, and by creating an emotional attachment between the readers and the moth, people begin to understand the frailty of existence through this insignificant moth.In addition to creating empathy, Woolf uses a beautifully poetic method in getting her purpose across, which is exploring the external struggles of the moth while employing those struggles to her own personal demons. She is able to switch the narratives between external and internal conflict without the audience even realizing it. Through the use of her vivid imagery and lucid writing style, Woolf achieves this double narrative story without the readers even consciously aware of it.This use of story-telling gives the readers multiple sides of the story, and is able to relate the tragic happenings of the moth to the even more tragic workings of Woolf’s mind. At first she explores the failing strength of the moth, which is the entire basis of the essay. ‘â€Å"After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the windowsill. The helplessness of his attitude roused me†Ã¢â‚¬â„¢ (Woolf 2). However, she begins to directly correlate these outside and physical experiences to the internal conflict and drama she’s been feeling.‘â€Å"But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again’† (Woolf 2). Upon trying to help the moth, she soon sees how her actions would only prove to be futile, causing her to give up trying to help. This leads internal conflict within her, because she questions the use of fighting to stay alive when death will happen anyways. This causes her to pity the moth, who continually attempts to live, even though there’s no use. The internal trauma Woolf feels comes to a climax when the moth succumbs to death.‘â€Å"Just as life had been strange a few mi nutes before, so death was now as strange. The moth having righted himself now lay most decently and uncomplainingly composed. O yes, he seemed to say, death is stronger than I am’† (Woolf 3). Woolf is amazed at how quickly and easily death came, and how death was an endless wave of mystery. In the end, she comes to terms with the fact that death will always triumph life, no matter how much people fight to live. By using both internal and external conflict to express this ongoing battle, the reader completely grasps the theme of inevitability of death by seeing multiple examples presented to them.The last technique used by Woolf in her particular style is the use of tone and the words she chooses to employ throughout the entirety of her essay. In the beginning of the essay, the tone is light, having a congenial feel to it. The words used by Woolf flow very smoothly, and through the use of the happy and flowing words, she conveys the joys of life. She is basically celebr ating the life and energy of the moth. ‘â€Å"Nevertheless the present specimen, with his narrow hay-colored wings, fringed with a tassel of the same color, seemed to be content with life.It was a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the summer months’† (Woolf 1). Woolf was renowned for her colorful language and the constant flow of the text. However, once the idea of death is introduced, the essay begins to take a morbid turn. A sense of foreboding is introduced into the mix, and the style of the writing changes. Instead of the flowing writing style and beautiful imagery, Woolf switches to longer sentences that contain different literary devices and the use of words is choppier rather than flowing.‘â€Å"When there was nobody to care or to know, this gigantic effort on the part of an insignificant little moth, against a power of such magnitude, to retain what no one else valued or desired to keep, moved o ne strangely. Again, somehow, one saw life, a pure bead’† (Woolf 2). Woolf doesn't utilize just words, but emotions in helping us to understand the full impact of death. Upon the introduction of the death of the moth, the demise of Woolf’s usual flowing writing occurs as well. By using different writing styles within the same essay, Woolf is able to achieve her purpose by creating a sense of dread within the reader.The theme of the inevitability of death is portrayed so skillfully by Woolf’s use of imagery and tone. Woolf’s skillful writing style is used to convey the absoluteness of death in a way that no other author is able to accomplish. By using empathy through the moth, conveying internal and external conflict, and using different tones and writing styles within the essay, Woolf was able to accomplish her purpose of showing the frailty of life, and how death will always triumph, no matter the struggle against it. People usually ignore this har sh fact, but Woolf was able to convey it through emotions rather than words, so people easily understood.