Fieldwork report Personal Statement Example | Topics and Well Written Essays - 2000 words

Fieldwork report - Personal Statement Example While reporting this session, I will also examine these aspects. Being a senior registered nurse in a Hong Kong Hospital, it is part of my duty to teach the fellow nurses and nursing students. In my work as an infectious disease nurse, coming across patients with infection is a daily routine, but as a nurse, I must be able to follow the hospital guidelines regarding infection containment. There are certain theoretical principles that guide these infection prevention policies, and isolation is one of them. Like every hospital, our hospital also sends suspected patients to isolation so spread of a particular infection and related contagious disease is prevented (Hospital Authority, 2006). There are certain places where such a patient is to be restricted during the span of the disease, and once the patient is no longer contagious, the patients is discharged to a step-down unit. The relevance of these guidelines are to be understood by the students and nurses, so they can follow the hospital guidelines accurately based on their understanding on the t opic (Preventing Transmission). After I was entrusted to conduct a teaching session, I made thorough preparation to design the course content, the audiovisual aids, and hand out questionnaire to assess knowledge of the participants at the end of the session. The date of my session was scheduled to be on September 18, 2008. Report on the Session The session was held on September 18, 2008, in the hospital lecture theater. It was a well illuminated, spacious sound-proof room with state of the art and comfortable seating arrangement. There was a modern public address system, and the teacher is supposed to talk through it. The audiovisual head sets were available for each student, but since the group was large, all new headsets could not be arranged for all. At the end and also in the feedback form, quite a few of the students complained about disturbed hearing, and sometimes, they could not even follow the lecture (Bahn, D., 2001). There was a podium, where I was standing and talking, and the podium had been structured in such a manner that all students can have an equal view. There was computer set up in the room, an internet connection, and the computer was connected to an LCD projector. The functions of these were checked and rechecked before the session began so technical failure does not happen. I must accept that once on the podium, I was feeling a little shaky, by voice was dry, and was perplexed for a moment or two, not able to pick my words. However, I was careful to demonstrate openness of my personality, and in the introduction while setting my topic, I made it clear that we shall learn together. This broke the ice, and a healthy learning environment was set up immediately (Bastable, S., 2003). I also informed that whenever they think they are having difficulty following, they are welcome to stop me and ask questions, and I would heartily entertain them. I also mentioned that there are time constraints in the programme, and they should not ask anything unnecessary or irrelevant during the session. At the end of the s

The Indian Triumph of Dionysus Essay -- Art Analysis

While visiting the Museum of Fine Arts Houston, I came across The Indian Triumph of Dionysus. Originating in Rome, it was created by a wealthy follower of Dionysus’s mystery cult in the late second century A.D. This worshiper evidently wanted to construct a sarcophagus in tribute of Dionysus’s accomplishments. Furthermore, Dionysus is surrounded by characters that are within the mystery cult because the creator wants the viewers to know with whom he is associated. With these two things combined, the patron hoped to shed light on a piece of history that they believed to be prominent during his life. The layout of the museum makes it very easy to find works of art from different time periods. Since I have always been fascinated with ancient Greece and Rome, I knew exactly where to start my search. The Indian Triumph of Dionysus is on display directly at the top of the staircase leading up to the second floor. It is surrounded by many other artifacts from ancient Greece and Rome. As your eyes move across the room, catching a glint of gold here and pearly white marble there, it’s very easy to become overwhelmed for a moment. As I reached the top of the stairs, it was evident that the staging of this magnificent piece was carefully planned. The staff of the museum undoubtedly wants this piece seen by each and every visitor. The exhibit itself is well done. If you stand directly in front of The Indian Triumph of Dionysus, everything around you seems to fade away and tunnel vision sets in. As I stood in front of The Indian Triumph of Dionysus, diligently taking notes since phot os are not allowed, I experienced an extreme spiritual connection to the past. I tried to put myself into the shoes of the author. What was his purpose? What d... ...t is also important to notice that every character seems to have wide eyes and dark circles drawn under their eyes. This is perhaps one of the most important aspects because the eyes show the underlying theme of complete inebriation. This in turn, proves the impact that Dionysus had on his followers as well as those who he conquered. Wine brought great power to its creator, and made a lasting impact on history. With these devices of communication, we are able to see that the follower wanted to capture Dionysus’s legacy by creating a sarcophagus of remembrance in his honor. Works Cited â€Å"MFAH Top 100 Highlights #35 - The Indian Triumph of Dionysus† Museum of Fine Arts Houston Online. 06 Apr. 2012. http://www.mfah.org/art/detail/dionysus-indian-triumph/ Unknown. The Indian Triumph of Dionysus. 2nd Century A.D. The Museum of Fine Arts, Houston, Texas.

A Game of Thrones Chapter Sixty-one

Daenerys When the battle was done, Dany rode her silver through the fields of the dead. Her handmaids and the men of her khas came after, smiling and jesting among themselves. Dothraki hooves had torn the earth and trampled the rye and lentils into the ground, while arakhs and arrows had sown a terrible new crop and watered it with blood. Dying horses lifted their heads and screamed at her as she rode past. Wounded men moaned and prayed. Jaqqa rhan moved among them, the mercy men with their heavy axes, taking a harvest of heads from the dead and dying alike. After them would scurry a flock of small girls, pulling arrows from the corpses to fill their baskets. Last of all the dogs would come sniffing, lean and hungry, the feral pack that was never far behind the khalasar. The sheep had been dead longest. There seemed to be thousands of them, black with flies, arrow shafts bristling from each carcass. Khal Ogo's riders had done that, Dany knew; no man of Drogo's khalasar would be such a fool as to waste his arrows on sheep when there were shepherds yet to kill. The town was afire, black plumes of smoke roiling and tumbling as they rose into a hard blue sky. Beneath broken walls of dried mud, riders galloped back and forth, swinging their long whips as they herded the survivors from the smoking rubble. The women and children of Ogo's khalasar walked with a sullen pride, even in defeat and bondage; they were slaves now, but they seemed not to fear it. It was different with the townsfolk. Dany pitied them; she remembered what terror felt like. Mothers stumbled along with blank, dead faces, pulling sobbing children by the hand. There were only a few men among them, cripples and cowards and grandfathers. Ser Jorah said the people of this country named themselves the Lhazareen, but the Dothraki called them haesh rakhi, the Lamb Men. Once Dany might have taken them for Dothraki, for they had the same copper skin and almond-shaped eyes. Now they looked alien to her, squat and flat-faced, their black hair cropped unnaturally short. They were herders of sheep and eaters of vegetables, and Khal Drogo said they belonged south of the river bend. The grass of the Dothraki sea was not meant for sheep. Dany saw one boy bolt and run for the river. A rider cut him off and turned him, and the others boxed him in, cracking their whips in his face, running him this way and that. One galloped behind him, lashing him across the buttocks until his thighs ran red with blood. Another snared his ankle with a lash and sent him sprawling. Finally, when the boy could only crawl, they grew bored of the sport and put an arrow through his back. Ser Jorah met her outside the shattered gate. He wore a dark green surcoat over his mail. His gauntlets, greaves, and greathelm were dark grey steel. The Dothraki had mocked him for a coward when he donned his armor, but the knight had spit insults right back in their teeth, tempers had flared, longsword had clashed with arakh, and the rider whose taunts had been loudest had been left behind to bleed to death. Ser Jorah lifted the visor of his flat-topped greathelm as he rode up. â€Å"Your lord husband awaits you within the town.† â€Å"Drogo took no harm?† â€Å"A few cuts,† Ser Jorah answered, â€Å"nothing of consequence. He slew two khals this day. Khal Ogo first, and then the son, Fogo, who became khal when Ogo fell. His bloodriders cut the bells from their hair, and now Khal Drogo's every step rings louder than before.† Ogo and his son had shared the high bench with her lord husband at the naming feast where Viserys had been crowned, but that was in Vaes Dothrak, beneath the Mother of Mountains, where every rider was a brother and all quarrels were put aside. It was different out in the grass. Ogo's khalasar had been attacking the town when Khal Drogo caught him. She wondered what the Lamb Men had thought, when they first saw the dust of their horses from atop those cracked-mud walls. Perhaps a few, the younger and more foolish who still believed that the gods heard the prayers of desperate men, took it for deliverance. Across the road, a girl no older than Dany was sobbing in a high thin voice as a rider shoved her over a pile of corpses, facedown, and thrust himself inside her. Other riders dismounted to take their turns. That was the sort of deliverance the Dothraki brought the Lamb Men. I am the blood of the dragon, Daenerys Targaryen reminded herself as she turned her face away. She pressed her lips together and hardened her heart and rode on toward the gate. â€Å"Most of Ogo's riders fled,† Ser Jorah was saying. â€Å"Still, there may be as many as ten thousand captives.† Slaves, Dany thought. Khal Drogo would drive them downriver to one of the towns on Slaver's Bay. She wanted to cry, but she told herself that she must be strong. This is war, this is what it looks like, this is the price of the Iron Throne. â€Å"I've told the khal he ought to make for Meereen,† Ser Jorah said. â€Å"They'll pay a better price than he'd get from a slaving caravan. Illyrio writes that they had a plague last year, so the brothels are paying double for healthy young girls, and triple for boys under ten. If enough children survive the journey, the gold will buy us all the ships we need, and hire men to sail them.† Behind them, the girl being raped made a heartrending sound, a long sobbing wail that went on and on and on. Dany's hand clenched hard around the reins, and she turned the silver's head. â€Å"Make them stop,† she commanded Ser Jorah. â€Å"Khaleesi?† The knight sounded perplexed. â€Å"You heard my words,† she said. â€Å"Stop them.† She spoke to her khas in the harsh accents of Dothraki. â€Å"Jhogo, Quaro, you will aid Ser Jorah. I want no rape.† The warriors exchanged a baffled look. Jorah Mormont spurred his horse closer. â€Å"Princess,† he said, â€Å"you have a gentle heart, but you do not understand. This is how it has always been. Those men have shed blood for the khal. Now they claim their reward.† Across the road, the girl was still crying, her high singsong tongue strange to Dany's ears. The first man was done with her now, and a second had taken his place. â€Å"She is a lamb girl,† Quaro said in Dothraki. â€Å"She is nothing, Khaleesi. The riders do her honor. The Lamb Men lay with sheep, it is known.† â€Å"It is known,† her handmaid Irri echoed. â€Å"It is known,† agreed Jhogo, astride the tall grey stallion that Drogo had given him. â€Å"If her wailing offends your ears, Khaleesi, Jhogo will bring you her tongue.† He drew his arakh. â€Å"I will not have her harmed,† Dany said. â€Å"I claim her. Do as I command you, or Khal Drogo will know the reason why.† â€Å"Ai, Khaleesi,† Jhogo replied, kicking his horse. Quaro and the others followed his lead, the bells in their hair chiming. â€Å"Go with them,† she commanded Ser Jorah. â€Å"As you command.† The knight gave her a curious look. â€Å"You are your brother's sister, in truth.† â€Å"Viserys?† She did not understand. â€Å"No,† he answered. â€Å"Rhaegar.† He galloped off. Dany heard Jhogo shout. The rapers laughed at him. One man shouted back. Jhogo's arakh flashed, and the man's head went tumbling from his shoulders. Laughter turned to curses as the horsemen reached for weapons, but by then Quaro and Aggo and Rakharo were there. She saw Aggo point across the road to where she sat upon her silver. The riders looked at her with cold black eyes. One spat. The others scattered to their mounts, muttering. All the while the man atop the lamb girl continued to plunge in and out of her, so intent on his pleasure that he seemed unaware of what was going on around him. Ser Jorah dismounted and wrenched him off with a mailed hand. The Dothraki went sprawling in the mud, bounced up with a knife in hand, and died with Aggo's arrow through his throat. Mormont pulled the girl off the pile of corpses and wrapped her in his blood-spattered cloak. He led her across the road to Dany. â€Å"What do you want done with her?† The girl was trembling, her eyes wide and vague. Her hair was matted with blood. â€Å"Doreah, see to her hurts. You do not have a rider's look, perhaps she will not fear you. The rest, with me.† She urged the silver through the broken wooden gate. It was worse inside the town. Many of the houses were afire, and the jaqqa rhan had been about their grisly work. Headless corpses filled the narrow, twisty lanes. They passed other women being raped. Each time Dany reined up, sent her khas to make an end to it, and claimed the victim as slave. One of them, a thick-bodied, flat-nosed woman of forty years, blessed Dany haltingly in the Common Tongue, but from the others she got only flat black stares. They were suspicious of her, she realized with sadness; afraid that she had saved them for some worse fate. â€Å"You cannot claim them all, child,† Ser Jorah said, the fourth time they stopped, while the warriors of her khas herded her new slaves behind her. â€Å"I am khaleesi, heir to the Seven Kingdoms, the blood of the dragon,† Dany reminded him. â€Å"It is not for you to tell me what I cannot do.† Across the city, a building collapsed in a great gout of fire and smoke, and she heard distant screams and the wailing of frightened children. They found Khal Drogo seated before a square windowless temple with thick mud walls and a bulbous dome like some immense brown onion. Beside him was a pile of heads taller than he was. One of the short arrows of the Lamb Men stuck through the meat of his upper arm, and blood covered the left side of his bare chest like a splash of paint. His three bloodriders were with him. Jhiqui helped Dany dismount; she had grown clumsy as her belly grew larger and heavier. She knelt before the khal. â€Å"My sun-and-stars is wounded.† The arakh cut was wide but shallow; his left nipple was gone, and a flap of bloody flesh and skin dangled from his chest like a wet rag. â€Å"Is scratch, moon of life, from arakh of one bloodrider to Khal Ogo,† Khal Drogo said in the Common Tongue. â€Å"I kill him for it, and Ogo too.† He turned his head, the bells in his braid ringing softly. â€Å"Is Ogo you hear, and Fogo his khalakka, who was khal when I slew him.† â€Å"No man can stand before the sun of my life,† Dany said, â€Å"the father of the stallion who mounts the world.† A mounted warrior rode up and vaulted from his saddle. He spoke to Haggo, a stream of angry Dothraki too fast for Dany to understand. The huge bloodrider gave her a heavy look before he turned to his khal â€Å"This one is Mago, who rides in the khas of Ko Jhaqo. He says the khaleesi has taken his spoils, a daughter of the lambs who was his to mount.† Khal Drogo's face was still and hard, but his black eyes were curious as they went to Dany. â€Å"Tell me the truth of this, moon of my life,† he commanded in Dothraki. Dany told him what she had done, in his own tongue so the khal would understand her better, her words simple and direct. When she was done, Drogo was frowning. â€Å"This is the way of war. These women are our slaves now, to do with as we please.† â€Å"It pleases me to hold them safe,† Dany said, wondering if she had dared too much. â€Å"If your warriors would mount these women, let them take them gently and keep them for wives. Give them places in the khalasar and let them bear you sons.† Qotho was ever the cruelest of the bloodriders. It was he who laughed. â€Å"Does the horse breed with the sheep?† Something in his tone reminded her of Viserys. Dany turned on him angrily. â€Å"The dragon feeds on horse and sheep alike.† Khal Drogo smiled. â€Å"See how fierce she grows!† he said. â€Å"It is my son inside her, the stallion who mounts the world, filling her with his fire. Ride slowly, Qotho . . . if the mother does not burn you where you sit, the son will trample you into the mud. And you, Mago, hold your tongue and find another lamb to mount. These belong to my khaleesi.† He started to reach out a hand to Daenerys, but as he lifted his arm Drogo grimaced in sudden pain and turned his head. Dany could almost feel his agony. The wounds were worse than Ser Jorah had led her to believe. â€Å"Where are the healers?† she demanded. The khalasar had two sorts: barren women and eunuch slaves. The herbwomen dealt in potions and spells, the eunuchs in knife, needle, and fire. â€Å"Why do they not attend the khal?† â€Å"The khal sent the hairless men away, Khaleesi,† old Cohollo assured her. Dany saw the bloodrider had taken a wound himself; a deep gash in his left shoulder. â€Å"Many riders are hurt,† Khal Drogo said stubbornly. â€Å"Let them be healed first. This arrow is no more than the bite of a fly, this little cut only a new scar to boast of to my son.† Dany could see the muscles in his chest where the skin had been cut away. A trickle of blood ran from the arrow that pierced his arm. â€Å"It is not for Khal Drogo to wait,† she proclaimed. â€Å"Jhogo, seek out these eunuchs and bring them here at once.† â€Å"Silver Lady,† a woman's voice said behind her, â€Å"I can help the Great Rider with his hurts.† Dany turned her head. The speaker was one of the slaves she had claimed, the heavy, flat-nosed woman who had blessed her. â€Å"The khal needs no help from women who lie with sheep,† barked Qotho. â€Å"Aggo, cut out her tongue.† Aggo grabbed her hair and pressed a knife to her throat. Dany lifted a hand. â€Å"No. She is mine. Let her speak.† Aggo looked from her to Qotho. He lowered his knife. â€Å"I meant no wrong, fierce riders.† The woman spoke Dothraki well. The robes she wore had once been the lightest and finest of woolens, rich with embroidery, but now they were mud-caked and bloody and ripped. She clutched the torn cloth of her bodice to her heavy breasts. â€Å"I have some small skill in the healing arts.† â€Å"Who are you?† Dany asked her. â€Å"I am named Mirri Maz Duur. I am godswife of this temple.† â€Å"Maegi,† grunted Haggo, fingering his arakh. His look was dark. Dany remembered the word from a terrifying story that Jhiqui had told her one night by the cookfire. A maegi was a woman who lay with demons and practiced the blackest of sorceries, a vile thing, evil and soulless, who came to men in the dark of night and sucked life and strength from their bodies. â€Å"I am a healer,† Mirri Maz Duur said. â€Å"A healer of sheeps,† sneered Qotho. â€Å"Blood of my blood, I say kill this maegi and wait for the hairless men.† Dany ignored the bloodrider's outburst. This old, homely, thickbodied woman did not look like a maegi to her. â€Å"Where did you learn your healing, Mirri Maz Duur?† â€Å"My mother was godswife before me, and taught me all the songs and spells most pleasing to the Great Shepherd, and how to make the sacred smokes and ointments from leaf and root and berry. When I was younger and more fair, I went in caravan to Asshai by the Shadow, to learn from their mages. Ships from many lands come to Asshai, so I lingered long to study the healing ways of distant peoples. A moonsinger of the Jogos Nhai gifted me with her birthing songs, a woman of your own riding people taught me the magics of grass and corn and horse, and a maester from the Sunset Lands opened a body for me and showed me all the secrets that hide beneath the skin.† Ser Jorah Mormont spoke up. â€Å"A maester?† â€Å"Marwyn, he named himself,† the woman replied in the Common Tongue. â€Å"From the sea. Beyond the sea. The Seven Lands, he said. Sunset Lands. Where men are iron and dragons rule. He taught me this speech.† â€Å"A maester in Asshai,† Ser Jorah mused. â€Å"Tell me, Godswife, what did this Marwyn wear about his neck?† â€Å"A chain so tight it was like to choke him, Iron Lord, with links of many metals.† The knight looked at Dany. â€Å"Only a man trained in the Citadel of Oldtown wears such a chain,† he said, â€Å"and such men do know much of healing.† â€Å"Why should you want to help my khal?† â€Å"All men are one flock, or so we are taught,† replied Mirri Maz Duur. â€Å"The Great Shepherd sent me to earth to heal his lambs, wherever I might find them.† Qotho gave her a stinging slap. â€Å"We are no sheep, maegi.† â€Å"Stop it,† Dany said angrily. â€Å"She is mine. I will not have her harmed.† Khal Drogo grunted. â€Å"The arrow must come out, Qotho.† â€Å"Yes, Great Rider,† Mirri Maz Duur answered, touching her bruised face. â€Å"And your breast must be washed and sewn, lest the wound fester.† â€Å"Do it, then,† Khal Drogo commanded. â€Å"Great Rider,† the woman said, â€Å"my tools and potions are inside the god's house, where the healing powers are strongest.† â€Å"I will carry you, blood of my blood,† Haggo offered. Khal Drogo waved him away. â€Å"I need no man's help,† he said, in a voice proud and hard. He stood, unaided, towering over them all. A fresh wave of blood ran down his breast, from where Ogo's arakh had cut off his nipple. Dany moved quickly to his side. â€Å"I am no man,† she whispered, â€Å"so you may lean on me.† Drogo put a huge hand on her shoulder. She took some of his weight as they walked toward the great mud temple. The three bloodriders followed. Dany commanded Ser Jorah and the warriors of her khas to guard the entrance and make certain no one set the building afire while they were still inside. They passed through a series of anterooms, into the high central chamber under the onion. Faint light shone down through hidden windows above. A few torches burnt smokily from sconces on the walls. Sheepskins were scattered across the mud floor. â€Å"There,† Mirri Maz Duur said, pointing to the altar, a massive blue-veined stone carved with images of shepherds and their flocks. Khal Drogo lay upon it. The old woman threw a handful of dried leaves onto a brazier, filling the chamber with fragrant smoke. â€Å"Best if you wait outside,† she told the rest of them. â€Å"We are blood of his blood,† Cohollo said. â€Å"Here we wait.† Qotho stepped close to Mirri Maz Duur. â€Å"Know this, wife of the Lamb God. Harm the khal and you suffer the same.† He drew his skinning knife and showed her the blade. â€Å"She will do no harm.† Dany felt she could trust this old, plainfaced woman with her flat nose; she had saved her from the hard hands of her rapers, after all. â€Å"If you must stay, then help,† Mirri told the bloodriders. â€Å"The Great Rider is too strong for me. Hold him still while I draw the arrow from his flesh.† She let the rags of her gown fall to her waist as she opened a carved chest, and busied herself with bottles and boxes, knives and needles. When she was ready, she broke off the barbed arrowhead and pulled out the shaft, chanting in the singsong tongue of the Lhazareen. She heated a flagon of wine to boiling on the brazier, and poured it over his wounds. Khal Drogo cursed her, but he did not move. She bound the arrow wound with a plaster of wet leaves and turned to the gash on his breast, smearing it with a pale green paste before she pulled the flap of skin back in place. The khal ground his teeth together and swallowed a scream. The godswife took out a silver needle and a bobbin of silk thread and began to close the flesh. When she was done she painted the skin with red ointment, covered it with more leaves, and bound the breast in a ragged piece of lambskin. â€Å"You must say the prayers I give you and keep the lambskin in place for ten days and ten nights,† she said. â€Å"There will be fever, and itching, and a great scar when the healing is done.† Khal Drogo sat, bells ringing. â€Å"I sing of my scars, sheep woman.† He flexed his arm and scowled. â€Å"Drink neither wine nor the milk of the poppy,† she cautioned him. â€Å"Pain you will have, but you must keep your body strong to fight the poison spirits.† â€Å"I am khal,† Drogo said. â€Å"I spit on pain and drink what I like. Cohollo, bring my vest.† The older man hastened off. â€Å"Before,† Dany said to the ugly Lhazareen woman, â€Å"I heard you speak of birthing songs . . . â€Å" â€Å"I know every secret of the bloody bed, Silver Lady, nor have I ever lost a babe,† Mirri Maz Duur replied. â€Å"My time is near,† Dany said. â€Å"I would have you attend me when he comes, if you would.† Khal Drogo laughed. â€Å"Moon of my life, you do not ask a slave, you tell her. She will do as you command.† He jumped down from the altar. â€Å"Come, my blood. The stallions call, this place is ashes. It is time to ride.† Haggo followed the khal from the temple, but Qotho lingered long enough to favor Mirri Maz Duur with a stare. â€Å"Remember, maegi, as the khal fares, so shall you.† â€Å"As you say, rider,† the woman answered him, gathering up her jars and bottles. â€Å"The Great Shepherd guards the flock.†

Essay about The Advertisement of Harmful Products - 590 Words

The Advertisement of Harmful Products Psychological Persuasion through advertising: Why tobacco companies are still in business. With continuing advancements in medical research, the harsh reality of tobacco smoke becomes more evident. The deadly effect of smoking tobacco is gaining notoriety in society, and a general social movement towards a smoke-free environment is becoming the norm. Regardless of these obstacles, tobacco companies are determined to stay in business, and absorb the growing backlash against smoking. One main weapon of defense for the tobacco companies is their ability to draw new costumers through persuasive advertising. The majority of new smokers are between the ages of†¦show more content†¦Not only are the tobacco companies clever with the content of their ads, they also know where they will be most seen by potential smokers, targeting magazines and other publications that have a substantially younger audience. In combat against the tobacco companies is the government. Both the American and Canadian governments have developed their own advertising campaigns directed at young er people to never start smoking in the first place. Kim Worden and Brian Flynn of the Office of Health Promotion Research at the University of Vermont found that children exposed to anti-smoking ads featuring notable role models were less likely to smoke four years later than children not exposed to the ads. The concept behind the campaign was to depict adolescents who don’t smoke fitting in with their peers, and being accepted in social environments, rather than emphasizing the specific health risks associated with smoking. The ideal message from the anti-smoking advertising agencies is that not smoking is the norm. Specifically in Canada, more substantial measures have been taken by the government to curb smoking. 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Advertising uses this as a way to make insecure people buy products they do not need. Many advertisements that are seen today on television, billboards, newspaper, and magazines are indeed harmful to our eyes and brain. Many of them make peop le feel like crap, that you dont have this car or that house or that body. Advertising is harmful to society because ofRead MoreAdvertising Is Harmful800 Words   |  4 PagesAdvertising Is Harmful Today I went to the bathroom in Tyson’s mall, and I saw a Lenovo camera advertisement stuck in front of the stool. It made me feels like a camera recorded everything in the bathroom. No matter where you go, walking on the street, taking the bus or subway, looking for websites or watching TV shows you always see advertisements. So I believe advertisements are harmful. Some people say that advertisements won’t brainwash them, because they know what they really want. 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I also saw children bought Pepsi at storesRead MoreThe Benefits and Detriments of Advertisement644 Words   |  3 PagesThere are several who believe that advertising is bad, opponents of advertisement state that it forces individuals to buy things that they do not actually need and persuades them to act in ways they normally would not. Corporate officials and supporters of advertising state that advertising is simply a positive method of exposing the general public to information and allowing the public to do what they please with the information. Advertising allows for free trade and prosperity, and is only detrimentalRead MoreThe Impact Of Consumerism939 Words   |  4 Pagesbuy more products is a good thing. However, things aren’t always as they seem. In order to get people to be interested in your product, there is lots of advertisement involved and this of course costs money. Unfortunately, with lots of advertisements , they may not tell the whole truth of a product, or they may target one specific age or race group. Getting consumers to buy products is a good thing, but the lengths people go at isnt. In order to get people to be interested in a product, it has to

Comparing Views on Stanley Milgrams Experiment on Obedience

In 1963 a psychologist named Stanley Milgram conducted one of the greatest controversial experiments of all time. Milgram tested students from Yale to discover the obedience of people to an authoritative figure. The subjects, whom did not know the shocks would not hurt, had to shock a â€Å"learner† when the â€Å"learner† answered questions incorrectly. Milgram came under fire for this experiment, which many proclaimed was unethical. This experiment of Milgram’s stimulated the creation of several responsive articles. Two articles that respond to this experiment are authored by Diane Baumrind and Ian Parker. These two authors attempt to review the methods, results, and ethical issues of Milgram’s experiment. â€Å"Review of Stanley Milgram’s Experiments†¦show more content†¦Also, The Psychology Research Handbook says The Ethical Standards of Psychologist stated such rules in 1953, which Milgram clearly ignored (Leong and Austin 178). Parker and Baumrind also question the legitimacy of the experiment and whether the results were influenced by the authority figure alone or by multiple factors. Baumrind states that the experimenter’s cold demeanor and apathetic demands caused the subjects to act in ways they would not have regularly (Baumrind 225-227). The isolation of the subjects is another factor according to Baumrind. The lack of someone to strengthen the subject causes the subject to fold to the authority (Baumrind 225). Parker also questions the legitimacy of Milgram’s experiment. He says it is a combination of several different factors that will result in the subjects actions, not solely a man demanding a subject to complete a task. He continues in sayi ng that people’s actions are influenced by the situation and what is happening around them (Parker 238). Parker quotes Ross in saying, â€Å"We can take ordinary people and make them show a degree of obedience or conformity†¦ to a degree that we would normally assume you would only see in a rare few† (Parker 239). Parker continues with saying a subject’s obedience is not determined by a simple command but by a range of factors. In Understanding Behavior in the Milgram Obedience Experiment: The Role of Personality, Situations, and Their Interactions, the author Thomas Blass states thatShow MoreRelatedAnalysis Of Stanley Milgram s Perils Of Obedience Essay1709 Words   |  7 Pagesmanipulated the minds of masses for their own personal and political agenda. Still, many questions still remain prevalent as to how an individual reaches his or her decision on obedience in a distressing environment. Inspired by Nazi trials, Stanley Milgram, an American psycholog ist, questions the social norm in â€Å"Perils of Obedience† (1964), where he conducted a study to test how far the average American was willing to for under the pressures of an authority figure. Milgram s study showed that under theRead MoreThe Impact Of Technology On The Development Of Psychological Research1557 Words   |  7 Pagesdecisive role in the development of psychological research. Firstly, this essay will discuss the work by Stanley Milgram (1963) and his obedience studies which used technology to see how far people would obey an authority figure. I will follow this with the ethics argument that surrounded it, noting the issues raised by Diana Baumrind (1964). An updated version of Milgram’s (1963) experiment, carried out by Mel Slater and colleagues (2006) which used technology to replicate it. Moving on, friendshipRead MoreEthics in Research Psychology Essay1809 Words   |  8 Pagesprobability and the magnitude of potential harm in human research may vary in degree of risk from minimal to considerable (Leong Austin, 2006). To justify the risk - benefit ratio, the advantages and disadvantages of the research are weighed, comparing and carefully calculating the possible benefits to society or to the participant, to the perceived risks that the participant may face. If the risks - benefit ratio is affirming and there are no other less risky proced ures that could be used to generateRead MoreProsocial Behavior And Its Effect On Society2661 Words   |  11 Pagestowards the direction of helping people or society as a whole. It encourages the initiation and maintenance of relationships and balance. Obedience is defined as succumbing to the demands of a powerful, authority figure. The idea of submitting to another’s orders has taken a negative connotation both in the past and today. However, contrary to popular belief, with obedience comes along guidelines, rules and order. Therefore, though yielding to the demands of authority does not necessarily mean an individualRead MoreSocial Identity Theory And Fees Must Fall Protests Essay1257 Words   |  6 PagesComparisons allow for the growth and generation of stereotypes, prejudice and judgments placed on other groups (Hornsey, MJ. 2008). These stereotypes, prejudices and judgements are perpetuated in order to raise one group’s superiority (Rogers, W.S. 2011). Compari ng the groups that we, and other people belong to, is a way of justifying or validating our own self-worth and self-esteem (Tajfel, H. Turner, J.1986). Social comparison and social identity go hand-in-hand, due to social identity being the individual’sRead MoreSocial Psychology2623 Words   |  11 Pagespsychologists have conducted numerous experiments and concluded that, through various forms of social influence, groups can change their members thoughts, feelings, and behaviour, intentionally or unintentionally, as a result of the way the changed person perceives themselves in relationship to the influencer, other people and society in general (Hogg amp; Vaughan, 2008). Hogg and Vaughan (2008) stated that the three areas of social influence are obedience, compliance and conformity. RavenRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesKeep It Close? 438 Case Incident 2 The Persuasion Imperative 439 xvi CONTENTS 14 Conflict and Negotiation 445 A Definition of Conflict 446 Transitions in Conflict Thought 447 The Traditional View of Conflict 447 †¢ The Interactionist View of Conflict 447 †¢ Resolution-Focused View of Conflict 449 The Conflict Process 449 Stage I: Potential Opposition or Incompatibility 450 †¢ Stage II: Cognition and Personalization 451 †¢ Stage III: Intentions 452 †¢ Stage IV: Behavior 454 †¢ Stage V: OutcomesRead MoreDeveloping Management Skills404131 Words   |  1617 PagesINFLUENCE 279 280 SKILL ASSESSMENT 280 Diagnostic Surveys for Gaining Power and Influence Gaining Power and Influence 280 Using Influence Strategies 281 SKILL LEARNING 283 Building a Strong Power Base and Using Influence Wisely 283 A Balanced View of Power 283 Lack of Power 283 Abuse of Power 285 Strategies for Gaining Organizational Power 286 The Necessity of Power and Empowerment 286 Sources of Personal Power 288 Sources of Positional Power 293 Transforming Power into Influence 298 Influence

Descriptive Essay - Original Writing - 964 Words

Sometimes the end is closer than you could ever imagine. I never knew that it was my last day; nobody did. If they knew, maybe they would have treated me differently, but they can’t change that now. I’m dead. It was a normal Tuesday in November. The leaves were yellowing and falling off the trees. I admired the scenery as I walked to the bus stop, but then I coughed. The dark smoke from a cigarette filled my lungs. I looked up as the crusty, old man who lived up the street walked towards me, cigarette in hand. He looked me dead in the eye, inhaled the smoke of his cigarette, and exhaled it into my face. â€Å"Get a move on!† he yelled as I ran. Once the bus pulled up, I hopped on. I despised the bus. Everything from the stench of gasoline to†¦show more content†¦Ã¢â‚¬Å"First off, it’s not a date. Secondly, turn it down a notch,† I said slightly embarrassed. We both laughed as we walked to class. Since it was the day of the prom, we only had school until after lunch. After that, we could go home and get ready for Prom. English, math, and science went as they normally did. Boring material with even more boring teachers. I hated school. I did not, however, hate learning. I liked being taught new things; I adored reading and writing. I just loathed the teachers. I disliked the way they treated students and their attitude towards learning. All they wanted to do is get paid and go home. I wished for a teacher that actually wanted to show up in school. Was that really too much to ask? After four long hours of class, it was finally lunch time. After that, we could go home! I loved lunch because it the only time I could talk to Marcus. We had no classes together and barely saw each other in the hallway. I walked into the already crowded cafeteria and looked around. Then I saw him at a table. Wow, he was perfect. Everything about him was from his blonde hair to the freckles scattered across his face. He turned in my direction and motioned for me to come and sit. I proudly walked over and took my seat next to the most popular guy in the junior class. I wished he was my boyfriend. He told Lauren that we were going to Prom as friends, but he could have asked any girl to go as a date. I hoped he really liked me. I turned to him to

Prufrock in Progress Free Essays

Prufrock in Progress In A Love Song of J. Alfred Prufrock by T. S. We will write a custom essay sample on Prufrock in Progress or any similar topic only for you Order Now Eliot, the main character, J. Alfred Prufrock battles with his identification in the world. T. S. Eliot comprises this character with traits that any human being can relate to, like fear and desire, while ironically depicting the character as a monster. This dueling monster lives within Prufrock. His desire to be accepted is bogged down by his unworthy self-esteem because of his lack of human relationships. Prufrock is a relatable character at best, but his self-image ruins his potential of connecting with other people. Some scholars believe that Prufrock is yearning for a long lost lover throughout his love song, but most evidence shows that he is in confliction with himself. Sistani writes Internal Anxieties and Conflicts in The LOVE SONG of J. ALFRED PRUFROCK and states that Prufrock is searching for a female lover in his expression of A Love Song. Sistani believes that J. Alfred is experiencing internal conflict about a love source and the need of comfort through a relationship with another woman. This interpretation poses irony continuously established throughout the poem because Prufrock does not even love himself. Sistani explains this insecurity by analyzing, â€Å"The article concludes that the male character’s anxieties and conflicts are all the results of a past unsatisfactory mothering situation during his childhood,† (Sistani 478). This accusation is made from empty evidence that he desires a woman’s affection simply because he did not ever have it. This shows that J. Alfred Prufrock is in a habitual pattern of looking for love in all the wrong places. This interpretation by Sistani suggests that J. Alfred is speaking out in the desire for a loving partner. Sadly, Prufrock’s relationship with his mother was disappointing and unfulfilling, therefore; he longs for someone to fill this place. Unfortunately, his lack of love and acceptance for himself disables him from relating and loving or even accepting others. Prufrock speaks of attending a party in which none of the women are good enough for him. He talks of their skirts hitting the floor and is infatuated by the women, but then ironically changes his viewpoint stating, And I have known the eyes already, known them all- The eyes that fix you in a ormulated phase, And when I am formulated, Sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin? (Gwynn 623). Prufrock is explaining how women prevent him from being his true self. How the presence of them makes him feel like an insect being pinned on the wall; examined and preserved for humans to review and criticize. He deems the question of how to begin the expression of self when all women seem to want is a fixed idea of what a man should be, and that is not what J. Alfred is. Sistani evaluates â€Å"As a dependent character with not good enough mothering, Prufrock, like a child, is always willing to attach to an external loved object to achieve support and gratification. This need for attachment, to relate to the desired object is constant in Prufrock,† (Sistani 481). The poem in itself is a projection of how Prufrock views himself in comparison to how the reader or another person would view him. He projects only what he wants to be known, and leaves the rest as mystery. He purposefully reveals only what he is comfortable revealing, which will never lead to a sustainable relationship. Sistani concludes in her article, â€Å"Prufrock, with unresolved internal conflicts and anxieties still dreams of the women to attach to in order to fulfill the need for security and comfort,† (Sistani 481). This analysis believes that Prufrock himself feels he will not be able to fully express himself or be accepted without a female partner to lovingly accept him first. Unfortunately and ironically, the cycle persists because J. Alfred Prufrock does not ever have the epiphany that his entire misery is derived from his lack of confidence and love for himself, not from a lack of an external object or person. On the other hand, Human Voices in Silent Seas: A Reading on Eliot’s Love Song by Videnov uses a psychoanalytic approach to interpret the poem sang by J. Alfred Prufrock. She expands on his internal conflict of worthiness. Throughout the poem, Prufrock battles with the public and private sides of himself, and whether his thoughts and feelings are worthy of expression. Videnov explains this contrast in character by stating, â€Å"Through jarring and easy transitions, Eliot contrasts the privacy of observation, insight, and dream with the social functioning of man, his appraisal by others, and his appraisal of himself as reflected in â€Å"the eyes† (55), thoughts, and words of others. † (Videnov, Valentin A. , 126). Videnov also analyzes the internal and external influences on J. Alfred Prufrock’s psyche. The internal conflict that J. Alfred Prufrock exhibits throughout his love song is evident in his lack of self-confidence that leads to a feeling of disconnection with the human population. On one hand, Prufrock expresses the desire to cultivate a relationship with the external world, or a lover; yet on the other hand, he lets his insecurities define him and refuses to let himself engage in relationships with other people. Videnov explains this by describing Prufrock’s quest, â€Å"a quest for belonging, the examination of which could yield the message of the poem and the ultimately optimistic idea of love, as the title suggests, lurking behind the apparently tragic finale,† (Videnov, Valentin A. , 126). This statement establishes the irony in the desire to fulfill a journey of love, yet the inevitable misery Prufrock lives. The psychoanalytical dynamic of the ego and the true self is brought through in Prufrock’s character. T. S. Eliot repeatedly uses the pronouns, â€Å"you and I,† to describe this relationship of the ego and true self that Prufrock experiences. In the interpretation of Human Voices in Silent Seas: A Reading on Eliot’s Love Song, Videnov declares that these two entities are both representative of J. Alfred Prufrock himself. â€Å"You† represents the public face of Alfred J. Prufrock, the ego; and â€Å"I† represents the true self, the self that wants to be expressed but is prevented by Prufrock’s fear and insecurity. The opposing characters within Prufrock are further extended through the symbols of afternoon and evening. The imagery of afternoon is a representation of the light, the desire to express, and the need for connection. The evening represents a darkness, or comfort in the habitual pattern of the introverted mind and it’s self-destructive thoughts. Prufrock expresses his mental state when he says, ‘the evening sleeps so peacefully. † (Gwynn 624) In saying this, Prufrock is confirming within himself his comfort in the thought pattern of darkness. This leads him to question, â€Å"Would it have been worthwhile? † (Gwynn 625), referring to the desired human connection he wants deep down. He truly believes that expression of the self and what he, as an individual has to say and share, are not going to be acc epted by others. Because of his fear of expression, the singer sings a song of love, but predominately and more ironically, a song of sadness. He has continued his pattern of introversion to such an extreme that he suffers from continual loneliness and disassociation. He proves this dissociation when he ends the poem with an insight of his fantasy world of mermaids where he retreats, when he is lonely. He looks upon the beautiful creatures in awe of their unifying world; yet won’t even allow himself to be happy in his fantasy. He states this saying, â€Å"I do not think that they will sing to me,† (Gwynn 625). This prevents him from dreaming himself to a healthy and loving relationship with himself, or anyone else. The lines â€Å"let us go† (Gwynn 622) used repeatedly are incredibly significant in this poem. Us† being the internal representation of the two conflicting sides that exist within Prufrock, as he yearns for release of this horrible cycle. What J. Alfred Prufrock does not understand is that every individual goes through this experience of questioning self worth. The underlying ironic theme of this poem is the relation of the reader to Prufrock himself. This is a cry of the main character to emerge from the inn er seclusion that he feels – a bonding of the afternoon and evening, the light and dark, inner and outer; a battle for the merging of duality to become a union. In â€Å"an overwhelming question† in The Love Song of J. Alfred Prufrock by Xue, the main question that J. Alfred Prufrock is consistently in conflict with is whether or not to reveal his true self. Prufrock’s dueling character is established through the language of the poem. The internal conflict of Prufrock is addressed through repetitive language. â€Å"Prufrock is trying to express some deeper philosophical insight or disillusionment with society, but fears rejection. † (Xue 79). This fear causes his misery. Prufrock’s character is dominated by his uncertainty. The repetition of the lines, â€Å"there will be time,† (Gwynn 622) pose irony in the poem. Prufrock is hopeful that he will be able to truly open up to the world in time, yet currently; he is perpetuating his cycle of loneliness by assuming that these desires will naturally unfold without regarded effort. Xue states this in saying, â€Å"The phrase ‘There will be time,’ repeated five times between lines 23 and 36, represents his hesitation and delay, in order to conceal his inner anxiety to the world,† (Xue 80). Essentially, Prufrock is only happy when he is alone with his thoughts because there are no external influences to judge him, yet this is also his cause of misery. Irony is also addressed in the â€Å"you and I† (Gwynn 621) characterization of Prufrock. Xue states the psychoanalytical interpretation of these pronouns, â€Å"In the poem, Prufrock is divided in two selves. One is persuading Prufrock to ask the ‘overwhelming question’, while the other is trying to prevent it,† (Xue 82). Prufrock’s soul really desires is the opposite of what it endures. At the root of his inability to express is his insecurity. Prufrock asks, â€Å"Do I dare Disturb the Universe? † (Gywnn 623) which is direct evidence that Prufrock has serious lack of self-confidence. J. Alfred directly articulates his anxiety about interaction by describing his unappealing physical attributes. He quivers in the thought, â€Å"With a bald spot in the middle of my hair- ‘They will say: ‘How his hair is growing thin! ’† (Gwynn 623). This statement is directly in connection with Prufrock’s physical insecurity, as well as his emotional insecurity because of his self-image. He uses this as an excuse for his anti-social behavior. He manifests this negative expression of self by bolding stating that if he were to share with another he would, â€Å"Die with a dying fall,† (Gywnn 623). This self-conscious attitude and fear of being mocked for this truth is the entire reason for J. Alfred Prufrock’s cyclical misery. He does not love himself; therefore, he cannot find or receive or the love of another. If he never learns to share his truth, he will never understand the beauty of human connection. The reality of how much Prufrock shares about himself is shown in the line, â€Å"To prepare to meet the faces that you meet; to murder to create,† (Gwynn 622). The real self or â€Å"I†, as Videnov described in Human Voices in Silent Seas, is lost or â€Å"murdered† in society to â€Å"create† a false self or alter ego that functions in society. Another line stating this ego-oriented society and repeating the symbol of darkness reads, â€Å"the evening spread out against the sky,† (Gwynn 622) which refers to the apparent darkness of all humans all hidden under the masks of ego. Yet, if J. Alfred Prufrock understands this is a battle of every individual, he would be able to relate. In conclusion, it is J. Alfred Prufrock’s choice to live in misery. If he were open to see himself as a mirror image of others he would realize that every individual has insecurities of their own. Therefore, I agree with scholars Videnov and Xue in the psychoanalytical approach to J. Alfred Prufrock battling with his own ego versus the exploration and expression of his true self. If he deemed himself worthy of external expression then he would finally be able to share in love with himself and in turn, the rest of humanity. Works Cited Gwynn, R. S. Literature: A Pocket Anthology. 5th. New York: Pearson Education, Inc. , 2012. 21-625. Print. Videnov, Valentin A. â€Å"Human Voices In Silent Seas: A Reading Of Eliot’s Love Song. † Explicator 67. 2 (2009): 126-130. Academic Search Complete. Web. 10 Nov. 2012. Sistani, Roohollah Reesi. â€Å"Internal Anxieties And Conflicts In â€Å"The LOVE SONG Of J. ALFRED PRUFROCK. † European Journal Of Social Science 17. 4 (2010): 478-489. Academic Search Complete. Web. 27 Nov. 2012. Xue, Haiqin . â€Å"On â€Å"An Overwhelming Question'† In The Love Song Of J. Alfred Prufrock. † Canadian Social Science 5. 2 (2009): 79-82. Academic Search Complete. Web. 10 Nov. 2012. How to cite Prufrock in Progress, Papers