Psychology class Essay Example | Topics and Well Written Essays - 1250 words

Psychology class - Essay Example al health problems are prevalent in modern society, a fact that contrasts the low mental health cases reported in health institutions in traditional society (Shally-Jensen 80). Society is preoccupied with treating mental health conditions, but the low number of medical professionals cannot effectively address this problem. Clinical psychology is a branch of psychology that deals with assessing, diagnosing, treating and preventing mental health problems (Shally-Jensen 10). A clinical psychologist improves the psychological well-being of individuals by alleviating and reducing psychological distress. As a professional, I will be training in various techniques and theoretical approaches to be able to work in private practice, hospitals, and academic settings. However, other clinical psychologists focus on treating psychological disorders and may involve treatment of severe mental problems like depression and schizophrenia. Dealing with clients and ensuring positive outcomes requires detailed record keeping, client assessment, therapeutic, and diagnostic records for tracking treatment progress and for insurance and billing (Shally-Jensen 57). Moreover, a clinical psychologist works with a team of other professionals, and I will work alongside occupational therapists, doctors, social workers, nurses, and physiotherapists. Clinical psychologists are increasingly demanded today because of the increasing cases of mental health problems. Consequently, the salary of clinical psychologists is increasing annually because of the low number of clinical psychologists today. However, according to the US Department of Labor in its Occupational Outlook in 2013, employment opportunities in clinical psychology are expected to rise in coming years (Department of Labor Statistics 1). It will influence the demand for professionals because of a rising need for qualified mental health experts. A 2013 report by CNN suggested the median pay for clinical psychologists was 80,000 dollars.

Ethical Issues of Barclays Essay Example | Topics and Well Written Essays - 3000 words

Ethical Issues of Barclays - Essay Example The research has provided valuable insights in respect of how the firm can improve its relationship with customers and investors so that ethical norms can be met more effectively. In June 2012 Barclays Bank’s rate-fixing scandal had mottled its reputation in a horrendous manner. The bank was fined  £ 290 million pounds for altering LIBOR. The investigation into the matter had revealed that the bank indulged in LIBOR manipulation to earn fraudulent profits and to make the bank activities secure against risks arising out of the financial crisis. The LIBOR is considered as one of the most vital information in respect of benchmark rates and it crucially impacts financial trading contracts across the globe. In the light of such events, Bob Diamond, the former chief executive of the bank had submitted his resignation. Subsequently, Anthony Jenkins was chosen as the chief executive officer (CEO). The bank was involved in a number of scandals such as the fraudulent selling of PPI (Payment Protection Insurance) and interest rate rigging which tarnished its reputation and had seriously affected consumers who had shifted to other banks. Almost 12 million holders of current bank account had switched to other banks as the credit rating and overall reputation of the bank declined. Public relations in respect of financial services institutions are essentially about communicating important and accurate information to the stakeholders. PR executives are required to maintain the trust of consumers and shareholders so that their investments remain with the financial institutions.

Differences Between Unitary Government And Federal Government Politics Essay

Differences Between Unitary Government And Federal Government Politics Essay In a unitary government, the power is held by one central authority but in a federal government, the power is divided between national government or federal government and local governments or states government. Federal government has multiple hierarchy levels, with both the central authority and the states (or provinces) both being sovereign. Furthermore, the central or national rules override the state rules. It also has balance between them for example the United State. It is shared between  national  and  local  levels. In a federal form of government, the term federal is also used to refer to the national level of government. However, for unitary government there is no hierarchy of sovereign powers. It is a state which has no authority to make their own laws and the government can only order the states to do anything. For example is Japan. Japan is a federal government which has a huge percentage of power. The advantages and disadvantages of Unitary Government Advantages The advantages of unitary government are it is single and decisive legislative. It has a simple management of an economy and the government is smaller.  It is uniformity of policies, laws, enforcement and administration of laws, government and others. Its also less duplication of services and a fewer conflicts between national and local government will occur. Disadvantages The disadvantages of using this type of system are it has slow government response. For example, there is no state National Guard that could be dispatched in emergency, troops would have to be mobilized from national authority. It is also easily looses track of local issues. Other than that, it is incredibly disruptive form of government where everyone is forced to compete with everyone else for priority. Since it is trying to take the place of federal and state governments, the unitary governments typical get distended and bogged down. Finally, it has huge system of government that is even larger than what this country has. The Advantages and the disadvantages of Federalism Advantages Every province has political, social and economic problems unusual to the region itself. Provincial government representatives live in close immediacy to the people and are most of the times from the same group of people so that they are in a better situation to understand these problems and offer distinctive solutions for them. For example, traffic jam in Oahu, Hawaii is a problem that can be best solved by the local government, keeping general factors in mind, rather than by somebody living in New York. Federalism offers depiction to different populations. Citizens of a range of provinces may have different aspirations, ethnicity and follow different cultures. The central government can sometimes fail to notice these differences and assume policies which cater to the majority. This is where the regional government steps in. While formulating policies, local needs, tastes and opinions are given due consideration by the state governments. Rights of the minorities are protected too. For example, in states like Arizona where there is a large Hispanic population and therefore, a large number of schools provide bilingual education. State governments have the freedom to adopt policies which may not be followed nationally or by any other state. For example, same sex marriages are not recognized by the federal government of USA but they are given legal status within the states of Connecticut, Iowa, Vermont and Massachusetts. Division of work between the central and the regional governments leads to optimum exploitation of resources. The central government can concentrate more on global affairs and defense of the country while the provincial government can provide to the local needs.   Federalism has room for improvement and testing. Two local governments can have two different approaches to bring reforms in any area of public area, be it taxes or education. The comparison of the results of these policies can give a clear suggestion of which policy is better and thus, can be adopted in the upcoming. Disadvantages Sharing of power between the Center and the states includes both advantages and disadvantages of federation. Sometimes there can be overlap of work and a following misunderstanding regarding who is responsible for what. For example, when typhoon Katrina hit Greater New Orleans, USA, in 2005, there was interruption in the salvage work as there was confusion between the state governments and the federal government on who is responsible for which disaster management work. This resulted in the loss of many lives. The federal system of government is very expensive as more people are chosen to office, both at the state and the center, than necessary. Thus, it is often said that only wealthy countries can afford it. Too many chosen representatives with overlapping roles may also lead to corruption. Other than that, it leads to unnecessary rivalry between different regions. There can be a rising by a regional government against the national government too. Both scenarios pose a threat to the countries reliability.   It is also promotes regional inequalities. Natural resources, industries, employment opportunities differ from region to region. Hence earnings and wealth are unevenly circulated Rich states offer more opportunities and benefits to its citizens than poor states can. Thus, the gap between rich and poor states widens.   It also can make the state governments selfish and concerned only about their own regions progress. They can formulate policies which might be harmful to other regions. For example, pollution from a province which is promoting industrialization in a big way can affect another region which depends exclusively on agriculture and cause crop damage. Finally, it does not eliminate poverty. Even in New York, there are poor neighborhoods like Harlem with a majority of black population. The reason for this may be that during policy framing, it is the intellectuals and not the masses who are invited by the local government.

Impact of Tone in Charlotte Brontes Jane Eyre :: Jane Eyre Essays

Jane Eyre: The Impact of the Tone The tone of Jane Eyre is direct, perhaps even blunt. There is no prissy little-girl sensibility, but a startlingly independent, even skeptical perspective. At the age of 10, the orphan Jane already sees through the hypocrisy of her self-righteous Christian elders. She tells her bullying Aunt Reed, "People think you a good woman, but you are bad; hard-hearted. You are deceitful!" and "I am glad you are no relative of mine; I will never call you aunt again so long as I live. I will never come to see you when I am grown up; and if any one asks me how I liked you, and how you treated me, I will say that the very thought of you makes me sick." (In fact, when her aunt is elderly and dying, Jane does return to visit her, and forgives her. But that's far in the future.) With the logic of a mature philosopher, in fact rather like Friedrich Nietzsche to come, Jane protests the basic admonitions of Christianity as a schoolgirl: "I must resist those who ... persist in disliking me; I must resis t those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel that it is deserved." And this bold declaration, which would have struck readers of 1847 (in fact, of 1947) as radical and "infeminine": "Restlessness was in my nature; it agitated me to pain sometimes ... Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a constraint, too absolute a stagnation, precisely as men would suffer." Instead, the novel begins with the seemingly disappointed statement: "There was no possibility of taking a walk that [rainy] day," and counters almost immediately with, "I was glad of it; I never liked long walks." When excluded from Christmas revelries in the Reed household, the child Jane says, "To speak the truth, I had not the least wish to go into company." Jane's defiance, which doesn't exclude childlike fears, strikes us as forthright in the way of the adolescent temperaments of other famous literary voices -- Jo March of Louisa May Alcott's "Little Women," Huck Finn, Holden Caulfield and their now-countless younger siblings. Impact of Tone in Charlotte Bronte's Jane Eyre :: Jane Eyre Essays Jane Eyre: The Impact of the Tone The tone of Jane Eyre is direct, perhaps even blunt. There is no prissy little-girl sensibility, but a startlingly independent, even skeptical perspective. At the age of 10, the orphan Jane already sees through the hypocrisy of her self-righteous Christian elders. She tells her bullying Aunt Reed, "People think you a good woman, but you are bad; hard-hearted. You are deceitful!" and "I am glad you are no relative of mine; I will never call you aunt again so long as I live. I will never come to see you when I am grown up; and if any one asks me how I liked you, and how you treated me, I will say that the very thought of you makes me sick." (In fact, when her aunt is elderly and dying, Jane does return to visit her, and forgives her. But that's far in the future.) With the logic of a mature philosopher, in fact rather like Friedrich Nietzsche to come, Jane protests the basic admonitions of Christianity as a schoolgirl: "I must resist those who ... persist in disliking me; I must resis t those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel that it is deserved." And this bold declaration, which would have struck readers of 1847 (in fact, of 1947) as radical and "infeminine": "Restlessness was in my nature; it agitated me to pain sometimes ... Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a constraint, too absolute a stagnation, precisely as men would suffer." Instead, the novel begins with the seemingly disappointed statement: "There was no possibility of taking a walk that [rainy] day," and counters almost immediately with, "I was glad of it; I never liked long walks." When excluded from Christmas revelries in the Reed household, the child Jane says, "To speak the truth, I had not the least wish to go into company." Jane's defiance, which doesn't exclude childlike fears, strikes us as forthright in the way of the adolescent temperaments of other famous literary voices -- Jo March of Louisa May Alcott's "Little Women," Huck Finn, Holden Caulfield and their now-countless younger siblings.

Eugene O’Neill Essay

INTRODUCTION 1. 1. Origin and Development of American Literature A fundamental difference subsists between American literature and proximately all the other major literary traditions of the world: it is essentially a modern, recent and international literature. The American continent possessed major pre-Columbian civilizations, with a deep heritage of culture, mythology, ritual, chant and poetry. Many recent American writers, especially recently, have looked to these sources as something essential to American culture, and the extraordinary variety and vision to be found there contribute much to the complexity  and increasing multiethnicity of Contemporary American experience. But this is not the originating tradition of what we now call American literature. That originated from the meeting between the land and usually despised Red Indians and the discoverers and settlers who left the developed, literatre cultures of Renaissance Europe, first to explore and conquer, then to populate, what they generally considered a virgin continent – a â€Å"New World† already promised them in their own mythology, now discovered by their own talent and curiosity. Owing to the sizably voluminous immigration to Boston in the 1630s, they brought their conceptions of history and the world’s purport; they brought their languages and above all , the book. The book was both a sacred text, the Bible (to be reinvigorated in the King James Authorized Version of 1611), and a general instrument of expression, record, argument, and cultural dissemination. In time, the book became American literature, and other things they shipped with it — from European values and prospects to post-Gutenberg printing technology– shaped the lineage of American writing. So did the early records kept of the encounter and what they composed of it. Of course a past was being ravaged as well as an incipient present gained when these travelers/ settlers imposed on the North American continent and its cultures their forms of interpretation and narrative, their Christian history and iconography. This American when first came into existence out of writing – European writing – and then went on to demand a new writing which fitted the harshness and grandeur of its landscape, the mysterious potential of its seemingly boundless open space. But â€Å"America† existed in  Europe long before it was discovered, in the speculative writings of the classical, the medieval and the then the Renaissance mind. â€Å"He invented America; a very great man †. Mademoiselle Nioche says about Columbus in Henry James’ The American (1877). 1. 1. 1. Periods of American Literature The division of American literature into convenient historical segments, or â€Å"periods,† lacks the consensus among literary scholars. The many syllabi of college surveys reprinted in Reconstructing American Literature, ed. Paul Lauter (1983), and the essays in Redefining American Literary History, ed. A. LaVonne Brown Ruoff and Jerry W. Ward (1990), demonstrate how variable are the temporal divisions and their names, especially since the beginning of efforts to do justice to literature written by women and by ethnic minorities. 1607-1775 : This era, from the founding of the first settlement at Jamestown to the outbreak of the American Revolution, is often called the Colonial Period, in which writings were for the most part-religious, practical, or historical. William Bradford, John Winthrop, and Cotton Mather are the notable writers. The period between 1765 and 1790 is sometimes distinguished as the Revolutionary Age. It was the time of Thomas Paine’s influential revolutionary tracts; of Thomas Jefferson’s â€Å"Statute of Virginia for Religious Freedom,† â€Å"Declaration of Independence,† and many other writings. The years 1775-1828, the Early National Period, ending with the triumph of Jacksonian democracy in 1828, signalized the emergence of a national imaginative literature, including the first American stage comedy (Royall Tyler’s The Contrast, 1787), the earliest American novel (William Hill Brown’s The Power of Sympathy, 1789), and the establishment in 1815 of the first enduring American magazine, The North American Review. Washington Irving achieved international fame with his essays and stories; Charles Brockden Brown wrote distinctively American versions of the Gothic novel of mystery and terror; the career of James Fenimore Cooper, the first major American novelist, was well launched. The span 1828-1865 from the Jacksonian era to the Civil War, often identified as the Romantic Period in America, marks the full coming of age of a distinctively American literature. This period is sometimes known as the American Renaissance, the title of F. O. Matthiessen’s influential book (1941) about its outstanding writers, Ralph Waldo Emerson,  Henry David Thoreau, Edgar Allan Poe, Herman Melville, and Nathaniel Hawthorne; it is also sometimes called the Age of Transcendentalism, after the philosophical and literary movement, entered on Emerson, that was dominant in New England. In all the major genres except drama, writers produced works of an originality and excellence not exceeded in later American literature. Emerson, Thoreau, and the early feminist Margaret Fuller shaped the ideas, ideals, and literary aims of many contemporary and later American writers. It was the age not only of continuing writings by William Cullen Bryant, Washington Irving, and James Fennimore Cooper,  but also of the novels and short stories of Pow, Hawthorne, Melville, Harriet Beecher Stowe, and the southern novelist William Gilmore Simms; of the poetry of Poe, John Greenleaf Whittier, Emerson, Henry Wadsworth Longfellow, and the most innovative and influential of all American poets, Walt Whitman; And of the beginning of distinguished American criticism of Poe, Simms, and James Russell Lowell. 1865-(1914) The cataclysm of the Civil War and Reconstruction, followed by a burgeoning industrialism and urbanization in the North, profoundly altered American self-awareness, and also American literary modes. The years 1865-1900 are often known as the Realistic Period, by reference to the novels by Mark Twain, William Dean Howells, and Henry James, as well as by John W. DeForest, Harold Frederic. These works, though diverse, are often labeled â€Å"realistic† in contrast to the â€Å"romances† of their predecessors in prose fiction: Poe, Hawthorne, and Melville. Some realistic authors grounded their fiction in a regional milieu; these include (in addition to Mark Twain’s novels on the Mississippi River region) Bret Harte in California, Sarah Orne Jewett in Maine, Mary Wilkins Freeman in Massachusetts, and George W. Cable and Kate Chopin in Louisiana. Chopin has become prominent as an early and major feminist novelist. Whitman continued writing poetry up to the last decade of the century, and was joined by Emily Dickinson; although only seven of Dickinson’s more than a thousand short poems were published in her lifetime, she is now recognized as one of the most distinctive and eminent of American pets. Sidney Lanier published his experiments in versification based on the meters of music; the African-American author Paul Laurence Dunbar wrote both poems and novels between 1893 and 1905; and in the 1890s Stephen Crane, although he was only  twenty-nine when he died, published short poems in free verse that anticipate the experiments of Ezra Pound and the Imagists, and wrote also the brilliantly innovative short stories and short novels hat look forward to two later narrative modes: naturalism and impressions. The years 1900-(1914) although James, Howells, and Mark Twain were still writing, and Edith Wharton was publishing her earlier novels—are sometimes discriminated as the Naturalistic Period, in recognition of the powerful although sometimes crudely wrought novels by Frank Norris, Jack  London, and Theodore Dreiser, which typically represent characters who are joint victims of their instinctual drives and of external sociological forces. (1914)- 1939. The era between the two world wars, marked by the trauma of the great economic depression beginning in 1929, was that of the emergence of what is still known as â€Å"Modern literature†, which in America reached an eminence rivaling that of the American Renaissance of the mid-nineteenth century; unlike most of the authors of that earlier period, however, the American modernists also achieved widespread international recognition and influence. Poetry magazine, founded in Chicago by Harriet Monroe in 1912, published many innovative authors. Among the notable poets were Edgar Lee Masters, Edwin Arlington Robinson, Robert Frost, Carl Sandburg, Wallace Stevens, William Carlos Williams, Ezra Pound, Robinson Jeffers, Marianne Moore, T. S. Eliot, Edna St. Vincent Millay, and E. E. Cummings— authors who wrote in an unexampled variety of poetic modes. The literary productions of this era are often subclassified in a variety of ways. The flamboyant and pleasure-seeking 1920s are sometimes referred to as â€Å"the Jazz Age†, a title popularized by F. Scott Fitzgerald’s Tales of the Jazz Age (1922). The same decade was also the period of the Harlem Renaissance, which produced major writings in all the literary forms. Many prominent American writers of the decade following the end of World War I, disillusioned by their war experiences and alienated by what they perceived as the crassness of American culture and its â€Å"puritanical† repressions, are often tagged ( in a term first applied by Gertrude Stein to young Frenchmen of the time) as the Lost Generation, a number of these writers became expatriates, moving either to London or to  Paris in their quest for a richer literary and artistic milieu and a freer way of life. 1939 to the Present, the Contemporary period. World War II, and especially the disillusionment with Soviet Communism consequent upon the Moscow trails for alleged treason and Stalin’s signing of the Russo-German pact with Hitler in 1939, largely ended the literary radicalism of the 1930s. A final blow to the very few writers who had maintained intellectual allegiance to Soviet Russia came in 1991 with the collapse of Russian Communism and the dissolution of the Soviet Union. For several decades the New Criticism—dominated by conservative southern writers. The Agrarians, who in the 1930s had championed a return from an industrial to an agricultural economy—typified the prevailing critical tendency to isolate literature from the life of the author and from society and to conceive a work of literature, in formal terms, as an organic and autonomous entity. The eminent and influential critics Edmund Wilson and Lionel Trilling, however—as well as other critics grouped with them as the New York Intellectuals, including Philip Rahv, Alfred Kazin, Dwight McDonald, and Irving Howe—continued through the 1960s to deal with a work of literature humanistically and historically, in the context of its author’s life, temperament and social milieu and in terms of the work’s moral and imaginative qualities and its consequences for society. The 1950s, while often regarded in retrospect as a period of cultural conformity and complacency, was marked by the emergence of vigorous anti-establishment and anti-traditional literary movements: the Beat writers such as Allen Ginsberg and Jack Kerouac; the American exemplars of the literature of the absurd; the Black Mountain Poets? Charles Olson, Robert Creeley, and Robert Duncan; and the New York Poets, Frank O’Hara, Kenneth Koch, and John Ashbery. It was also a time of confessional poetry and the literature of extreme sexual candor, marked by the emergence of Henry Miller as a notable author. The counterculture of the 1960s and early 1970s continued some of these modes, but in a fashion made extreme and fevered by the rebellious youth movement and the vehement and sometimes violent opposition to the war in Vietnam. Important American writers after World War II is Eudora Welty, Robert Penn Warren, Saul Bellow, R P. Warren, Robert Lowell, Sylvia Plath, Arthur Miller, Tennessee Williams, Edward Albee and many others. 1. 2 RISE OF AMERICAN DRAMA â€Å"In the four quarters of the globe, who reads an American book? Or goes to an American play? † -Sydney Smith, The Edinburgh Review (1820). This was the most profoundly preconceived thought around the world before the epoch of American Drama among many literary critics as well as the literate people, half of those harsh comments were due to impediment and the remaining were sort of ill-treatment. â€Å"There is not, and there never has been, a literary institution,  which could be called the American Drama† †¢ Dion Boucicault This statement provoke very little argument from most American critics more than a hundred years later. In fact, the neglect of American drama is so pervasive that Ruby Cohn, in her history of twentieth-century drama for the Columbia Literary History of the United States (1988), begins with the observation: â€Å"Given the chokehold on drama of a misnamed Broadway, given the lure of Hollywood, and given the power of some small-minded reviewers in the daily press, it is a virtual miracle that American drama merits admission to a history of American literature†. Despite its segregation from the main corpus of American literature, American drama has never been written in a vaccum. It has mirrored peculiarly American social, political, and historical issues in traditional as well as challenging forms and experimental styles. It has been the forum for a plurality of American voices. American drama has always responded to national and regional problems, either in reifying prevailing sentiments or by challenging dominant ideologies. Like other forms of American literature, drama embodies the American struggle. For decades scholars and critics of American literature, engaged in establishing discipline with  canonical hierarchies and feeling embattled in the face of longer-lived English literary studies, have practiced generic hegemony; as a consequence, American drama historically has been the most devalued and overlooked area in American literary studies. Besides all these, there was great theatrical activity during the 19th century a time when there were no movies, TV, or Radio. Every town of any size had its theater or â€Å"opera house† in which touring companies of actors performed. However, no significant drama was performed in this century, with audiences preferring farce, melodrama, and vaudeville to serious efforts. European drama, which was to influence modern American drama profoundly, matured in the last third of 19th century with the achievements of three playwrights: Henrik Ibsen, August Strindberg, and Anton Chekhov. Ibsen who was profoundly influenced by psychologists Sigmund Freud and Carl Jung, tackled subjects such as guilt, sexuality, and mental illness. Strindberg brought to his characterizations a unprecedented level of psychological complexity. And Chekhov shifted the subject matter of drama from wildly theatrical displays of external action and emotions to the concerns of everyday life. These trio presented characters and situations more or less realistically chiefly known as â€Å"slice-of-life† dramatic technique. Soon after the beginning of the 20th century, realism became the dominant mode of American drama. Very soon after the little theaters off Broadway succeeded with realistic plays. In 1916 and 1917, two small theater groups in New York (the Provincetown Players and the Washington Square Players) began to produce new American plays. They provided a congenial home for new American playwrights like Eugene O’Neill, whose first plays were produced by the Provincetown Players in MA. These small play groups would produce any play, in any style, that commercial theater would not touch. These groups were the beginning of modern American dramatic theater. The post- World War II years brought two important figures to prominence in American drama : Arthur Miller (((1916))-2005) and Tennessee Williams (1911-1983). They remain the dominant figures of the second half of the 20th century. Miller and Williams represent the two principal movement in modern American drama: realism, and realism combined with an attempt at something more imaginative. From the beginning, American playwrights have tried to break  away from the strict realism of Ibsen, Strindberg, and Chekhov and to blend it with a more poetic form of expression. Miller’s Death of a Salesman (1949),Williams’ The Glass Menagerie (1944) and Thornton Wilder’s Our Town (1938) are some of the best examples of this style of writing. Contemporary American Theater In the mid 19th century, realism in drama was conceived as a revolt against crude theatricalism. Currently there is a revolt against realism itself and a move toward more theatricalism, with its emphasis on stage effects and imaginative settings. Once again, American  drama is changing to reflect the changing attitudes of American theater-going audiences. Dramatists today have the freedom to express their deepest feelings, whatever they may be, in any form they choose- provided that their approach can be made comprehensible to an audience and touch their emotions. 1. 3 LIFE AND CAREER OF EUGENE O’NEILL â€Å"I was born in a hotel and, damn it, I’ll die in a hotel†- Eugene O’Neill Eugene Gladstone O’Neill (16- October- 1888 to 27- November-1953), the son of James O’Neill and Ella Quinlan was born in an up-town family hotel, named Barret House on broadway at 43, Street, New York. James O’Neill, was a successful touring actor in the last quarter of the 19th century whose most famous role was that of the Count of Monte Cristo in a stage adaptation of the Alexandre Dumas novel. Ella accompanied her husband all the times except for the birth of her first son, James Jr,. and for Eugene. His parents were ardent follower of Catholicism. Ella was exceptionally beautiful woman. She loved music and practiced a curled hand-writing. As he was born in a hotel, he spent his childhood in hotel rooms, on trains and backstage. This filled him with a sense of instability and insecurity. O’Neill later deplored the nightmare insecurity of these early years experience and blamed his father for the tragedies that happened in the life of O’Neill. â€Å"Wherever he (O’Neill) lived, the houses he bought were always big, as if their very size would ensure stability: the other side of the picture is, of course, to be seen in his restless experimentation, which ever allowed him exactly to repeat a way of writing he had once essayed. † O’Neill was educated at boarding schools such as Mt. St. Vincent in the Bronx and Betts Academy in Stamford, Conn. His summers were spent at the family’s only permanent home, a  modest house overlooking the Thames River in New London. He attended Princeton University for one year (1906-07), after which he left school to begin what he later regarded as his real education in â€Å"life experience. † The next six years very nearly ended his life. He shipped to sea, lived a derelict’s existence on the waterfronts of Buenos Aires, Liverpool, and New York City, submerged himself in alcohol, and attempted suicide. Recovering briefly at the age of 24, he held a job for a few months as a reporter and contributor to the poetry column of the New London Telegraph but soon came with tuberculosis. Confined to the Gaylord Farm Sanitarium in Wallingford for six months then he confronted himself soberly and seized the chance for what he later called his â€Å"rebirth†. O’Neill’s first efforts were awkward melodramas, but they were about people and subjects—prostitutes, derelicts, lonely sailors, God’s injustice to man—that had, up to that time, been in the province of serious novels and were not considered an apt subjects for presenting on the American Stage. In the autumn of (1914), O’Neill entered G. P. Baker’s Academy at Harvard to take lessons in playwriting, because of a theatre critic suggestion to his father. O’Neill’s first appearance as a playwright came in the summer of 1916, in the quiet fishing village of Provincetown, where a group of young writers and painters had launced an experimental theater. In their tiny, ramshackle playhouse on a wharf, they produced his one-act sea play Bound East for Cardiff. The talent inherent in the play was immediately evident to the group, which that fall formed the Playwright’s Theater in Greenwich village. Their first bill, on 03-November-1916, included Bound East for Cardiff—O’Neill’s one-act sea plays, along with a number of his lesser efforts. By the time his first full length play, Beyond the Horizon? was produced on Broadway, staged in Morosco Theater, when the young playwright already had a small reputation. In 1918 he married Agnes Boulton, and they lived for several summers at Peaked Hill, a reconditioned life-saving station near Provincetown. During the rest of the year, they lived in other places. They had two children before separating in 1827. His third wife, Carlotta Montercy, accompanied him on many long journeys, to Europe, to Asia, to the American West. They were to be frequently on the move during the rest of O’Neill’s life, and they were to experience many  painful things including the suicide of Eugene O’ Neill Jr. O’Neill’s last years were marked by physical suffering ( his hands paralysed so that he could no longer write), by increasing isolation, by family trouble and dissension. He died on 27 November, 1953. 1. 4 O’Neill’s contribution to American Drama In his own life-time, O’Neill was established as the leading American dramatist. He was awarded Pulitzer Prizes for Beyond the Horizon, Anna Christie, Strange Interlude, and Long Days Journey into Night ( he received the highest international recognition in the award of the  Nobel Prize in Literature; a considerable number of books and articles have been devoted to his work since the nineteen-twenties, and in recent years the sign of interest has grown markedly pronounced. His plays are quite popular in the English-speaking world. Despite some critical effort to depreciate O’Neill, he remains America’s outstanding playwright, the only one to win international fame and recognition, and the Novel Prize. He not only built up the American theatre, but also put it on the world map, where now it has a dynamic and distinguished place beside the European and continental theatre—Arthur Miller and  Tennessee Williams helping to sustain that edifice. Unlike Shakespeare, whom popular fancy depicts as a wild bird who sat on the bough and warbled his wood-notes wild, O’Neill had the theatre in his blood and made a lifelong strenuous conscious effort to achieve glory in this field and leave foot-prints on the sands of time. Also, unlike Shakespeare, O’Neill was a highly personal writer, in whose case the partions that divide autobiography and objective reality are very thin paper thin so that his dramatic works constitute a series of personal obsessions, ending up with the most personal of them all- Long Day’s Journey into Night. Full-length plays †¢BREAD AND BUTTER, (1914) †¢SERVITUDE, (1914) †¢THE PERSONAL EQUATION, (1916) †¢NOW I ASK YOU, 1916 †¢BEYOND THE HORIZON, 1918 – PULITZER PRIZE, (1920) †¢THE STRAW, (1919) †¢CHRIS CHRISTOPHERSEN, (1919) †¢GOLD, (1920) †¢ANNA CHRISTIE, (1920) – PULITZER PRIZE, (1922) †¢THE EMPEROR JONES, (1920) †¢DIFF’RENT, (1921) †¢THE FIRST MAN, (1922) †¢THE HAIRY APE, (1922) †¢THE FOUNTAIN, (1923) †¢MARCO MILLIONS, (1923–25) †¢ALL GOD’S CHILLUN GOT WINGS, (1924) †¢WELDED, (1924) †¢DESIRE UNDER THE ELMS, (1925) †¢LAZARUS LAUGHED, (1925–26) †¢THE GREAT GOD BROWN, (1926) †¢STRANGE INTERLUDE, (1928 – PULITZER PRIZE) †¢DYNAMO, (1929) †¢MOURNING BECOMES ELECTRA, (1931) †¢AH, WILDERNESS! , (1933) †¢DAYS WITHOUT END, (1933) †¢THE ICEMAN COMETH, (WRITTEN 1939, PUBLISHED 1940, FIRST PERFORMED 1946) †¢HUGHIE, WRITTEN (1941, FIRST PERFORMED 1959) †¢LONG DAY’S JOURNEY INTO NIGHT, (WRITTEN 1941, FIRST PERFORMED 1956 – PULITZER PRIZE 1957) †¢A MOON FOR THE MISBEGOTTEN, (WRITTEN 1941–1943, FIRST PERFORMED 1947) †¢A TOUCH OF THE POET, (COMPLETED IN 1942, FIRST PERFORMED 1958) †¢MORE STATELY MANSIONS, (SECOND DRAFT FOUND IN O’NEILL’S PAPERS, FIRST PERFORMED 1967) †¢THE CALMS OF CAPRICORN, (PUBLISHED IN 1983) One-act plays The Glencairn Plays, all of which feature characters on the fictional ship Glencairn—filmed together as The Long Voyage Home: †¢BOUND EAST FOR CARDIFF, ((1914)) †¢IN THE ZONE, (1917) †¢THE LONG VOYAGE HOME, (1917) †¢MOON OF THE CARIBBEES, (1918) Other one-act plays include: †¢A WIFE FOR A LIFE, (1913) †¢THE WEB, (1913) †¢THIRST, (1913) †¢RECKLESSNESS, (1913) †¢WARNINGS, (1913) †¢FOG, (1914) †¢ABORTION, (1914) †¢THE MOVIE MAN: A COMEDY, (1914) †¢THE SNIPER, (1916) †¢BEFORE BREAKFAST, (1916) †¢ILE, (1917) †¢THE ROPE, (1918) †¢SHELL SHOCK, (1918) †¢THE DREAMY KID, (1918) †¢WHERE THE CROSS IS MADE, (1918) †¢EXORCISM (1919) 1. 5 His Themes.

Gender In The Middle Ages Essay

During the medieval periods, gender is a great measure defining the state of a certain person in a certain society. According to the Qur’an, the male gendered people are always considered as superior than that of the female figures because the scripture explains that it is as God created man first before creating a woman and that the man is the protector and provider of the woman. In the medieval period society, those people who acquire power are said to be all male gendered ones. A woman is never allowed to hold power because they are said to be subjected in doing household chores because they are believed to be inferior being than that of man. Females are believed to be basically serving their husbands as well as their children and also their parents. This kind of belief bloomed because it is written in the Holy Scriptures that God created man on his image and because God is believed to be a powerful immortal creator then therefore the man whom he created holds the power over everything that God created. The only position that a woman can hold in the society during the medieval time is; someone who will follow their husband as they are subjected to follow the man’s rule because the man are considered the authority. Woman are also not allowed to learn as they are not allowed to teach, they also can not be allowed as a witness, and nor are they allowed to give their judgement as well as their opinion over a certain matter. Women are never given the chance to excel beyond what they are, neither are they given the opportunity to speak out their thoughts. They are considered as servants who are chosen by the immortal creator to serve the man created as the holder of the power and authority above every creation. The society’s expectation of role towards the people came basically from the sacred scriptures. In Christian scripture, it is stated in the bible that Adam was made first in order to rule, protect and be the authority over God’s creation; in the Qur’an scripture from the Islamic religion, it has also been stated that man is made first in order to rule those who are made inferior to them. The medieval scenario on gender shows that the medieval period basically adopted the sacred scripture’s statement and implemented it as a basis on how they are going to treat such people depicted by their gender. This explains that the church has a great influence towards the people on the medieval periods; it generally makes people obey and base their social life under the words of the immortal creator. The people’s concern during the medieval period which is related to gender is that they give man all the respect due to the man’s gender. The respect that the society bestows towards the male figures is considered as a symbol of their love and respect to which they believe and they have faith into. Since the people believed that God is powerful and that God created man from his own image, therefore man as the society considers, is as precious and as respectful as God is who deserves authority, power, love, respect, and obedience as much as loyalty. On the contrary, there is an act in which the boundaries of gender can be altered. An example is the Chambermaid who is a servant employed by a certain master in order to do all the heavy and most filthy duties in a household. This kind of servant can be almost considered as an outcast or untouchable and therefore man are not allowed to get closer to her and worst is that man are also not allowed to marry them. The people during the medieval period are basically not allowed to rise into a higher status in the society. Since the medieval people have their idea in mind that women are not created through God’s image and likeness, they are then subjected to forever being servant of their master or of their husband. This includes their exception from learning as well as their exception from their right to teach what they know, the are also not allowed to become a witness in any matter or crime, they are even prevented from giving such guarantee, and thus they are also not allowed to witness such judgement nor give their own opinion regarding the judgement matters. The ideas and beliefs that the medieval people used to believe are cruel and unfair. It imposes that women are useless and all that women can be is a simple servant who tends to follow all that the man has to say or has to command. In addition, women are being treated like animals lacking of respect and losing their dignity as a human being who are too created by the almighty. Through the period that the female beings were disrespected, they’ve experienced torments, public humiliation; they are also unaccepted by the society to join any position or to excel at any other state rather than that of being a slave. If the medieval people really believed in God and thus respect and love him as they loved the male races, then therefore the woman also deserves such respect because they too are beings created by God and that what God said that â€Å"man should be the authority over woman† was taken exaggeratedly to the extend that the male race treated the women as â€Å"nothing† where what God meant by his word is that man should be the authority over woman in order to protect the female race from the temptations and tests of life which females are weak of. Class status added a conflict to the situation when women were disregarded and taken advantage of. Those who are rich or considered as powerful aristocrats during the medieval period tend to purchase women to e either their sex object or slaves. Those who are being purchased for slaves were being commanded to do ridiculous chores and those who were purchased to be sex objects were considered as source for past time pleasure. The women purchased to make love with by the socially stabled man will not be free even if somebody purchased them unless their present master will decide to let go of them. The example wherein people could see that women where given the opportunity to be treated fairly is in The Rule of St. Francis of Assisi wherein he said that man which he considers as his brothers should not dare to judge other people but rather they should be gentle or kind. In addition to the rules, it was stated that man should not have any verbal nor non-verbal connection with the women unless they were being allowed by the pope. The rules of St. Francis of Assisi show how people must treat women in a way that the women were being given proper respect. The nuns’ gender as a female deserves respect for they are holy as God had created them and as they were ready to serve God. In the middle or medieval period, gender treatments were not uniform. There were places where female were considered slaves and that they were being sold and purchased just like materials things and men act like God who holds power over women. On the other hand, in other places, men were treated like slaves as women were and they too experiences sufferings and torments and women where somehow treated fairly. Gender issues during the medieval or middle age is a historical fact that marked the perception of people towards the importance of the humanity’s difference and how they should be treated which made the people of this period time realize that women can be as useful, and as effective as men in any matter. It is not because man are made with God’s image that women should be taken advantage of but it is that because they are God’s like created figures, they should then treat the creations as a precious thing which is under their care. BIBLIOGRAPHY Sherman, Dennis. Western Civilization Sources, Images, and Interpretations. 7th ed. Vol. 1: McGraw Hill, Year.

Final 2015 1 Essay

Final 2015 1 Essay Final 2015 1 Essay Essay Final Summative Exercise History 30643 Spring 2015 This essay is due on Tuesday, May 5, at 4:00 p.m. This is a firm deadline because I must get your grades in!!! Feel free to turn it in ahead of time in my box in the history office, 308 Reed. In a well-composed essay of at least of 1,000 to 1,500 words, double-spaced, respond to the following prompt: Food is multivalent- it goes in many directions at once. During this semester, we have discussed food in these ways: Food and meaning- how people use food to make sense of their world Food and economic activity- how people use food to make money Food and responsibility- how people use food to manage the resources given them Your task is to select one of these themes and analyze it throughout American history, from contact to the present. You should also indicate its importance for the future of American society. The papers will be graded according to the following rubric: A B C Mastery of topic Exceptionally strong familiarity with the material under consideration Good familiarity with the material under consideration Acceptable familiarity with the material under consideration Analysis Exceptionally strong analysis of the material under consideration Good analysis of the material under consideration Acceptable analysis of the material under consideration Change over time Exceptionally strong in analyzing change over time Good in covering change over time Acceptable in covering change over time Thoroughness Exceptional thoroughness Good thoroughness Acceptable thoroughness Use of all appropriate sources: Wallach, primary readings, Diner, Pollan, cookbook analysis, class notes,