Does Socrates oppose the principle of majority rule free essay sample

Socrates does not support the majority rule for a few different reasons. Socrates saw politics as a waste of time and did not understand its purpose. Politics were just in the way for Socrates because he believed learning to reason more carefully and more modestly was more important. He believed that the majority rule was corrupt and unjust as cited in the text. Others had a different perspective and believed that politics were the utmost importance and if that person did not use their political power that they are useless to society.Would you have condemned Socrates?I would not have condemned Socrates because of the many good points he brings up in the apology when Socrates defends himself. Socrates first explains that it is his duty to question people with the power to be able to expose anything they say that might be wrong or corrupt. Socrates then talked about how some of his teachings may be annoying and frustrating to some but to others it causes productivity and the ability to make sure Athens does not state content with itself. We will write a custom essay sample on Does Socrates oppose the principle of majority rule? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Socrates is not a bad person and should be condemned to death for this.Why is it a point of honor with Socrates that he was never compensated for his teaching?Socrates was never compensated for his words of wisdom and teachings which made him poor. Socrates cared more about the people then being compensated which separated himself from the sophists. While they lived a fancy life because they were compensated, he believed these people would get complacent with their jobs and duties. Socrates believed that pursuing money and riches were a useless goal but enjoyed giving the youth wisdom and for them to use this wisdom for years to come. Socrates was too honorable to attain personal property and wealth.Why does Socrates’ search for the truth hurt others and condemn him?Socrates was not very well liked and deservingly so. Socrates walked around Athens and questioned anybody, even if they had power or not. Of course, the people with power disliked this and epically if he was able to prove them wrong. Socrates created many enemies for himself. His way of teaching was something people have not seen and were very irregular. He believed that in questioning someone that this person would search for the knowledge to be able to answer that question next time.

North by Northwest is an Oedipal Wish Fulfillment Fantasy

Even though that during the course of recent decades, the conceptual soundness of the Psychoanalytical Theory by Sigmund Freud has been increasingly criticized, on account of its presumed ‘unscientificalness’, there can only be a few doubts that it continues to denote a high practical value.Advertising We will write a custom essay sample on North by Northwest is an Oedipal Wish Fulfillment Fantasy specifically for you for only $16.05 $11/page Learn More After all, even today it represents a thoroughly legitimate practice, on the part of movie critics, to refer to this specific theory, while striving to expose the innate reasons of why a particular character in the film tends to act in one way or another. In this paper, I will explore the validity of the above-statement at length, in regards to the films North by Northwest and Vertigo by Alfred Hitchcock, while promoting the idea that the manner in which main characters in both movies address life-challenges, reflect what happened to be the deep-seated Oedipal anxieties of the individuals in question. The actual mechanics of how men develop Oedipal anxieties have been revealed by Sigmund Freud in the rather straightforward manner, â€Å"The little man (a boy) wants to have his mother all to himself, that he feels the presence of his father as a nuisance, that he is resentful if his father indulges in any signs of affection towards his mother and that he shows satisfaction when his father has gone on a journey or is absent† (1977, p. 332). Because, during the course of their childhood men are rarely capable of opposing their fathers effectively, as they grow, they tend to extrapolate their unconscious frustration, in this respect, in the way they tackle life-challenges – especially while remaining in the relationship with women. As Pommier noted, â€Å"The repressed does not merely return, it acts out under a new identity. So-called adulthood is nothing ot her than this disowned childhood, indefinitely disowned through acts and thoughts. Adulthood is nothing but childhood, which materializes itself in this disavowal† (1997, p. 13). Hence, the currently adopted definition of the Oedipal complex, as the specific state of one’s mind, which is being concerned with the person’s tendency to project its consciously suppressed psychosexual anxieties, which are rooted in the memories of his childhood years, onto the surrounding social reality. There are sharply defined Oedipal overtones to the very plot of North by Northwest, as it is being concerned with exposing viewers to the consequential phases of the film main character’s (Roger Thornhill) quest to discover the elusive identity of George Kaplan.Advertising Looking for essay on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Throughout the course of this quest, Roger undergoes a specific psychological transfor mation from being a rather indecisive/easily intimidated individual into nothing short of a ‘macho-man’, capable of opposing his violently minded adversaries on their terms. There is, of course, can be very little doubt that the earlier mentioned scenario is contextually consistent with what Freud used to refer to as the psychosexual stages of one’s development, as an individual. The reason for this is quite apparent. In full accordance with how Freud used to perceive the process of one’s psychosexual maturation, the process of Roger continuing to seek what he believed to account for his identity, resulted in the character realizing the fact that the visually observable indications of the person’s existence do not necessarily prove that such a person exists in reality. There are undeniable parallels between the discursive implications of Roger’s enlightenment, in this respect, and Freud’s assumption that it is only natural for intellec tually developing people to grow ever more aware of the illusionary subtleties of their sense of super-ego. There is a memorable scene in the film, where Roger tries out Kaplan’s clothes (to figure whether they would match his size), only to realize that these clothes were meant to be worn by a much shorter/smaller man. This scene can be well interpreted, as such that signifies that the socially constructed framework for one’s sense of self-identity to able to attain ‘individuation’, cannot possibly contain the concerned individual’s subliminal and therefore valid identity-defining anxieties.  Nevertheless, it is only when we begin to deconstruct the discursive meaning of the film’s actual themes and motifs in details that it becomes evident for us that North by Northwest is indeed a strongly ‘Oedipal’ movie. The first thing that comes insight, in this respect, is that it accentuates the ‘Oedipal’ aspects of the re lationship between Roger Thornhill and his mother, Clara. As it appears from the movie, this relationship can be best described as having been unnaturally strong – it is not only that Roger calls his mother multiple times a day, but also he takes close to heart her advice, as to how he should be positioning himself in life. This, of course, implies that the film’s main character never ceased being emotionally attached to Clara, while trying to appease her in just about every way possible, and that this constituted one of his significant life-priorities. However, we can also deduce that, even though he did treat his mother with affection, Roger continued to experience the unconscious sense of shame/guilt, due to his self-presumed inability to prove himself a ‘real man’ in her eyes. This could not be otherwise, because there are a plenty of scenes in the movie, which imply that it was a commonplace practice for Mrs. Thornhill to stress out her son’s c ognitive infantilism in front of others, which in turn used to traumatize the film’s main character emotionally.Advertising We will write a custom essay sample on North by Northwest is an Oedipal Wish Fulfillment Fantasy specifically for you for only $16.05 $11/page Learn More For example, there is another memorable scene in North by Northwest, where Clara is continuing to give his son disapproving looks, while the latter tries to convince people around that he has indeed been kidnapped. This scene alone suggests that deep in her mind; she regarded Roger nothing short of a ‘little boy’, who cannot help remaining utterly defenseless while facing reality (00.24.08). Consequently, this was causing Roger to grow increasingly doubtful of whether his rationale-driven identity of a responsible adult-male was perceptually adequate – hence, adding to the sheer intensity of the ensuing anxiety, on Roger’s part. The reason for thi s is that, just as Freud used to suggest, while unconsciously addressing their subliminal desire to have sex with their mothers, men do strive to affiliate themselves with masculine values, as if this would qualify them as their fathers’ legitimate replacements. Thus, Clara’s tendency to humiliate Roger in front of others, which quite obviously lasted for several years, could not result in anything else but in having her son’ feminized’ to an extent. This explains why, for the duration of the film’s first half an hour, Roger does not appear to be capable of assessing the possible implications of him having been kidnapped adequately. There is another motif in North by Northwest, which can be referred to as clearly Oedipal. It is being concerned with the physical appearance of Eva Marie Saint and the qualitative aspects of the relationship between her and Roger. First, this particular character is being represented in the movie as a ‘classic bl ond’, with her facial features radiating the spirit of nobleness. We can well deduce that the reason why Roger became attracted to her, in the first place, is that he unconsciously perceived Eva as the physical embodiment of his mother’s existential virtues – even the character’s last name invokes the notion of purity. After all, as psychologists are being aware of, men do tend to idealize their mothers to the extent of believing that they are in fact, asexual. However, the men’s earlier mentioned tendency has nothing to do with the workings of their unconscious id, while being, in essence, the part of the psychological defense mechanism, deployed by men in situations when they face cognitive dissonance.Advertising Looking for essay on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Hence, the symbolic significance of Eva’s presence in Hitchcock’s film, as an extrapolation of Roger’s deep-seated anxiety to copulate with his mother – although he had this anxiety consciously suppressed, Roger was nevertheless driven by it, while pursuing the relationship with Eva. In essence, he regarded Eva as his mother’s ‘surrogate’. At the same time, however, Roger could not help experiencing the sensation of emotional discomfort, because of that, as the relationship in question never ceased being evocative of the notion of ‘sin’. In its turn, this explains why the character of Eva can be well discussed in terms of a femme fatale – without wanting it, she nevertheless almost caused Roger to die, after having ‘scheduled’ him to meet imaginary George Kaplan in the middle of an open field. Thus, just as it happened to be the case in noir films, the character of femme fatale Eva serves in North by No rthwest the function of intensifying the plot’s dramatics, as it does prompt male-viewers to get in close touch with their unconscious fears of incest. What has been said earlier, provides us with the discursive framework to elaborate upon what can be considered the Oedipal significance of the character of Vandamme in the movie. After all, there can be only a few doubts as to the fact that, as opposed to what it happened to be the case with Roger Thornhill, Vandamme is being represented as a violently minded, cynical and yet wickedly witty individual. Therefore, we can well speculate that, while competing to win the same woman (Eva) with Vandamm, which happened to emanate the ‘saintly’ virtues of nobleness and wisdom, the film’s main character was in all probability regarding his adversary in terms of an oppressive father. This explains why, up until the film’s very end, Roger appeared having been incapable of opposing Vandamm effectively – q uite contrary to the fact that, just as his main nemeses, he could be described as an intelligent and physically strong man. The reason for this is that psychologically speaking, Roger did not only thought of Vandamme if terms of a male-competitor, but also in terms of a fatherly figure. Apparently, Vandamme’s very presence used to prove utterly intimidating for the main character, as the latter tended to think that challenging Vandamme to a fair ‘duel’ would violate an absolute taboo, within the context of how sons are supposed to refer to their fathers. According to Freud, one of the foremost Oedipal anxieties, on the part of men, which develops when they are aged 3-5 years old, is the fear of uncleanliness – while toilet-trained, the boys never cease being afraid of the prospect of failing to act like adults, in this respect. Therefore, it is fully explainable why being an ‘Oedipal’ movie, North by Northwest features some scenes in which Ro ger’s clothes become ever more soiled – hence, causing the main character to continue being submerged ever deeper in his Oedipal anxieties. The most memorable of these scenes is the one where Roger ends up being crop-dusted while hiding from an overflying plane in the open cornfield (01.14.09). As Morris noted, â€Å"In the crop-dusting sequence, Thornhill is driven into the ground and covered with a chemical agent, as if the quest for ‘grounds’ in North by Northwest resulted only in the further vulnerability and degradation of human identity† (1997, p. 50). Consequently, Roger’s suit becomes somewhat unrecognizable. In its turn, this explains why, after having met Eva for the second time, Roger does not talk to her angrily – despite the fact that Eva did set him up in the somewhat conniving manner. From the psychoanalytical point of view, this was because, after having been crop-dusted, Roger became endowed with the complex of sublimi nal guilt, due to his earlier first-hand encounter with ‘filthiness’. This, of course, substantially undermined the character’s sense of self-worth – hence, causing him to end up being out of words while facing his femme fatale.  One of the reasons why many grown individuals continue to be endowed with the Oedipal complex is that throughout their adult lives, they never had a chance to rationalize their sex-related unconscious anxieties. In its turn, this is the consequence of these people’s continual exposure to the oppressiveness of the currently dominant socio-cultural discourse, which deems even the mentioning of these anxieties’ shameful’. The validity of this statement can be illustrated in relation to another famous scene in North by Northwest, which symbolizes the society’s unwillingness to allow its members to go about exploring their existential identities, in the way they consider the most appropriate. We refer to t he scene that features Roger and Eva climbing down the ‘faces’ of the Founding Fathers, carved into the Rushmore Mountain (02.12.00). The close analysis of this particular scene reveals that it was not included in the film for emphasizing the grotesque subtleties of Roger and Eva’s escape alone, but also to promote the idea that the socially upheld provisions of a conventional morality/ethics do prevent many people from being able to address their psychosexual anxieties. After all, the director made a deliberate point in having the film’s emotionally charged climax unraveling in the foreground of absolutely unemotional stone-faces. Apparently, this was done to accentuate the central aspect of modern living – the fact that people’s psychosexual drives, which in the end define the essence of the relationship between the representatives of opposite sexes and consequently – the society’s very fabric, remain unacknowledged by morali stically minded policy-makers. Given the fact that, as it was pointed out earlier, Roger’s romantic involvement with Eva appears to be mainly ‘Oedipal’, it will only be appropriate, on our part, to think of the above mentioned scene as yet another indication that, when filming North by Northwest, Hitchcock remained thoroughly aware of the Psychoanalytical theory’s main postulates. Another notable aspect of how men extrapolate their Oedipal anxieties is that, while pursuing the relationship with women, they strive to ensure the complete ‘ownership’ of the latter. The origins of such men’s tendency can be traced to the time when they were young boys, who would try to do just about anything, in order to win their mothers’ uncompromised attention – even at the expense of putting their fathers in particular ‘attentional’ disadvantage. Therefore, grown-up ‘Oedipal’ men are dialectically predetermined to exhibit the signs that their unconscious psychosexual agenda is being concerned with objectualizing women in terms of a commodity – even when they do not quite realize it consciously. Hence, the discursive significance of the scene, in which Roger extends his hand to Eva, grabs her wrist, and says, â€Å"Come along Mrs. Thornhill† (02.15.58) – apparently, by having uttered these words, he attempted to do nothing less than taking an effective care of one of his major Oedipal anxieties, once and for all. This anxiety had to do with the fact that, during the course of his childhood, Roger convinced himself that it is specifically a man that successfully addresses the responsibilities of a hunter-gatherer (husband), which is being in a position to have sexual relations with his mother. Consequently, Roger associated the notion of ‘husband’ with the notion of ‘being in charge’, and the notion of ‘being in charge’ with the menâ €™s presumed ability to keep their women subservient. Thus, it is indeed entirely appropriate referring to North by Northwest, as a film where the plot’s Oedipal themes and motifs accentuate the true significance of the on-screen action. The 1958 film Vertigo represents another example of how Hitchcock used to go about appealing to the audience’s deep-seated Oedipal anxieties. Its plot is concerned with the story about the former police detective (John â€Å"Scottie† Ferguson) striving to uncover the mystery of his friend wife’s (Madeleine Elster) periodical transfigurations from a cheerful and intelligent contemporary into presumably a long-dead woman from the 19th century, obsessed with the thoughts of suicide. At the movie’s end, it is being revealed that the ‘mystery’ is question has in fact been staged and that ‘Madeleine’ was Judy Barton – a woman that agreed to act as an accomplice in the murder of real M adeleine Elster.  One of the film’s central Oedipal motifs is the main character’s condition of acrophobia (the fear of heights), which he developed in the aftermath of his partner’s deadly fall from the roof, during the course of a police chase. The rationale behind this suggestion is quite apparent – because his newly acquired mental condition caused Scotty to feel existentially incapacitated and therefore ‘effeminate’ to an extent, we can well deduce that Scotty’s unconsciousness regarded the earlier mentioned incident in terms of the act of ‘castration’. Therefore, there is nothing too odd about the fact that, throughout the film’s initial scene, Scotty is shown trying to regain his lost masculinity by the mean of attempting to climb up the steps of a stool, in order to prove his condition being manageable. This, however, turns out quite impossible for him. Eventually, Scotty’s deep-seated realization o f its own inadequateness resulted in the film’s main character deciding to follow Madeleine, just as his friend asks him to, in order to figure out what caused her to behave strangely. It is quite clear that, on an unconscious level, Scotty thought of such his decision as having potentially capable to help him to restore his former vision of himself, as a fully functional male. Nevertheless, it is specifically after we get to see the character of Madeleine for the first time, that the film’s Oedipal undertones become quite apparent. After all, just as it was the case with the role of Eva in North by Northwest, Madeleine radiates the unmistakable aura of ‘sainthood’ around her. The gray-blond color of Madeleine’s hair adds to this impression rather substantially. The reason why Hitchcock decided to make Madeleine a blonde-haired person is no different from what used to be the rationale for Renaissance artists to represent the figures of female-saint s in their paintings in the similar manner. Apparently, men are naturally driven to associate the color of white with the notion of purity, which they in turn associate with the notion of motherhood. What makes the Madeleine’s appearance even more Oedipal, is that there is a certain unnaturalness to her ‘blondness’ – as if it came as a result of this character having dyed her hair with hydrogen peroxide. This provides us with an additional reason to believe that it were specifically the main character’s Oedipal anxieties, which caused him to become instantly attracted to her. While being exposed to the sight of this particular femme fatale, Scotty could not help experiencing the sensation of getting in close touch with what used to define his personality back in the past. In other words, it was not Scotty’s attraction with Madeleine, as an individual, which initially prompted him to follow her, but his unconscious awareness of the fact that, despite having not seen Madeline, prior to their first encounter in the film, he nevertheless knew just about everything about her. We can only agree with Hinton, who suggested that, â€Å"While Scottie is looking at Madeleine, or who he believes to be ‘Madeleine,’ he is looking for a ghost, or the truth about ghosts: that ‘Madeleine’s’ possession is all in her head, that she lacks a ‘head,’ rationally speaking† (1994, p. 4). Without realizing it consciously, Scotty considered Madeleine as the embodiment of his mother’s womanly virtues. In its turn, this reveals the symbolical significance of the fact that, just as it can be seen in the film, while following Madeleine, Scotty was deriving a particular sensual pleasure out of this essentially voyeuristic process. Such Scotty’s tendency can be well discussed as having been reflective of his childhood memories. As Freud used to point out, even though they know perfectly well that their mothers will never choose them as sexual partners, young boys nevertheless cannot help experiencing a strong sensual attraction towards them. As a result, young boys never skip an opportunity to watch the process of their mothers being undressed, for example – even when it requires them to remain hidden in the room or to peek through the door’s keyhole. Thus, there can be only a few doubts, as to the Oedipal roots of men’s tendency to indulge in voyeurism. What is means is that, as he proceeded to follow Madeleine in his car, Scotty was gradually beginning to think of this particular activity, on his part, as such that constituted the value of a ‘thing in itself’. The validity of this suggestion can be illustrated, in regards to one of the film’s memorable scenes, in which Scotty expresses its displeasure with Midge Wood’s (his female friend) attempt to win his romantic attention, by the mean of having herself depicted wearing the same old-fashioned dress, like the one that used to be worn by Madeleine’s grandmother Carlotta (01.01.46). Apparently, it never occurred to Midge that the reason why Scotty used to take an interest in listening to the stories about Madeleine’s grandmother had nothing to do with his mental fixation on the particulars of this woman’s physical appearance. Instead, it had to do with the main character’s subtle understanding that, while finding out more about Madeleine/her grandmother, he was regaining the long-lost part of his self-identity. The above-statement also helps to explain the persistence, with which Scotty went about dressing up Judy (who acted as ‘Madeleine’, before the person’s presumed death, due to having fallen off the monastery’s tower). Because of how he worked, in this respect, we can well assume that the relationship between Scotty and Madeleine was in fact ‘unidirectional’. That is, i t was not Madeleine in flesh in blood, who Scotty believed to be in love with, but rather this woman’s fetishized image, which in turn was nothing but the visually observable sublimation of the main character’s Oedipal longings. The assumption that in the Hitchcock’s film Scotty acts as an individual endowed with the Oedipal complex also sheds light on the discursive significance of the scene in which he fails to prevent ‘Madeleine’ from committing suicide, by the mean of jumping of the monastery’s tower (00.52.28). This is because, according to the Freudian conceptualization of the concerned anxiety’s effects, Oedipal individuals experience two diametrically opposite desires – the desire to achieve a sexual satisfaction with the object of their psychosexual fixation, on the one hand, and the desire not to have information about this revealed to the morally oppressive society, on the other. In its turn, this can be explained by the fact that, while addressing life-challenges, people are being forced to observe the conventional code of behavioral ethics, adopted within the society – hence, allowing their super-ego to define the qualitative aspects of how they position themselves in life. However, as a result, people often develop some life-impending ‘secondary’ anxieties, such as the fear of committing a ‘sin’ and allowing the society to find out about it. Because the workings of people’s ‘archetypical unconsciousness’ inevitably cause them to believe that the sin’s ultimate consequence is death, they cannot help acting in the manner that their super-ego prescribes them to – hence, the phenomenon of people’s endowment with what Freud used to refer to as the ‘instinct of death’. What it means is that, on an unconscious level, Scotty was aware that his relationship with Madeleine was bound to end up in tragedy. This is the reason why, even though there were strongly ominous overtones to how Madeleine asked him to forget her in the scene where she was about to jump off the tower, Scotty did not move a finger to prevent Madeleine from realizing her suicidal intention before it was too late. This is even though he did not hesitate even for a second jumping in the water after Madeleine when she tried to kill herself the first time. Apparently, at this particular moment in the film, Scotty’s ‘instinct of death’, enforced upon him by his realization of the ‘sinful’ nature of his relationship with Madeleine, prevailed. After the incident, Scotty is shown dealing with acute depression. The sensation of depression, on his part, was so intense that the film’s main character ended up undergoing psychiatric treatment in the clinic. In its turn, Scotty’s depression was triggered by his sense of guilt, on account of his failure to save Madeleine. This once again confir ms the appropriateness of the suggestion that, throughout Vertigo, Scotty acts as an ‘Oedipal’ individual, in the classical sense of this word. After all, as we are well aware of, when trying to maintain the posture of the society’s productive members, people have no other option but to suppress their Oedipal anxieties consciously, which cannot result in anything else but in creating prerequisites for these people’s mental states to grow increasingly deteriorated. The process’s ultimate consequence is depression. In Scotty’s case, his depression appears to have been brought about by not as much the sensation of loss, on his part, but rather by his unconscious realization that, even while adult, he proved himself inadequate in the relationship with his ‘subliminal mother’ – Madeleine. As it was implied earlier, it is in the very nature of Oedipal men to idealize their mothers as ‘saintly’ figures. Such their te ndency can be discussed in terms of a psychological defense mechanism – while suspecting that it is precisely their unworthiness, as thoroughly dependent individuals, which prevents them from being able to have a sexual intercourse with their mothers, young boys natural tend to refer to the objects of their latent sexual desires, as being somewhat ‘unapproachable’. The reason for this is that it helps boys to reduce the strength of the anxiety of worthlessness, on their part. At the same time, however, it causes boys to think of women, in general, as something that they are not really in reality, which in turn is being capable of incapacitating these boys cognitively, by the time they reach adulthood. This helps us to explain the significance of the scene, in which Scotty drags ‘Madeleine’/Judy to the top of the tower, as if his condition of acrophobia did no longer have any effect on him (02.07.04). Once, he realized the illusionary essence of his s elf-constructed image of Madeleine, as a ‘saintly’ figure, Scotty’s acrophobia evaporated into thin air, because it occurred to him that there was in fact nothing ‘sinful’ about his attraction to this woman, in the first place. Therefore, by dragging Judy up the staircase, Scotty wanted to confirm to himself once again that it is namely men’s possession of a penis, which defines the manner in which they pursue relationships with women – in Scotty’s eyes, the monastery’s tower became nothing short of a phallic symbol. In its turn, this allowed Scotty’s id to escape the oppressive boundaries of his super-ego, which empowered the film’s main character to an extent that he instantaneously forgot about his fear of heights. In other words, the concerned scene subtly suggests that it is only when men become aware of the fact that they themselves contribute to the sensation of having been ‘castrated’, in the allegorical sense of this word, by the mean of adopting a rather uncritical view of women, that they may cease being ‘Oedipal’. In this respect, the earlier mentioned message, read between the scene’s ‘lines’, appears entirely consistent with how the Theory of Psychoanalysis addresses the issue of people’s endowment with the Oedipal complex. After all, according to this theory, the pathways towards the reestablishment of emotional equilibrium, inside the ‘Oedipal’ individual’s mind, cannot be discussed outside of the concerned person’s willingness to recognize the counter-beneficiary effects of how his super-ego assess the surrounding psychosexual reality. I believe that the earlier deployed line of argumentation, in defense of the suggestion that there are indeed some clearly Oedipal overtones in the films North by Northwest and Vertigo, is entirely consistent with the paper’s initial thesis. It is under stood, of course, that many insights, contained in this paper, are somewhat speculative. This, however, does not undermine these insights’ overall legitimacy, because even today it remains a commonplace practice, among psychoanalysts, to go about identifying the suspected psychopathology in a person, by the mean of exposing the objectiveness of his or her subliminal anxieties. In this respect, we did not act any differently. Thus, it will only be appropriate, on our part, to conclude this paper by reinstating once again that the films North by Northwest and Vertigo by Alfred Hitchcock do contain clues as to both: what causes people to become ‘Oedipal’ and what they can do, in order to have the acuteness of their Oedipal anxieties substantially reduced. References Freud, Z 1977, Introductory lectures on Psychoanalysis, New York, Norton. Hinton, L 1994, ‘A â€Å"woman’s† view: the Vertigo frame-up’, Film Criticism, vol. 19. no. 2, pp. 2-2 2. Morris, C 1997, ‘The direction of â€Å"North by Northwest†Ã¢â‚¬â„¢, Cinema Journal, vol. 36. no. 4, pp. 43-56 North by Northwest, 1959. Film. Directed by Alfred Hitchcock. USA: Metro-Goldwyn-Mayer. Pommier, G 1997, ‘The psychoanalytic concept of childhood’, Critical Quarterly, vol. 39. No. 3, pp. 8-15. Vertigo, 1958. Film. Directed by Alfred Hitchcock. USA: Paramount Pictures. This essay on North by Northwest is an Oedipal Wish Fulfillment Fantasy was written and submitted by user Allan Powers to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Mixed American Essay examples

Mixed American Essay examples Mixed American Essay examples Mixed-American â€Å"There is a drill that nearly all Asians in America have experienced more times than they can count. Total strangers will interrupt with the absurdly existential question â€Å"What are you?† Or the equally common inquiry â€Å"Where are you from?†...†(1) Living in Southern California as a â€Å"Hispanic American†, I have definitely received those same exact questions countless times. Although I know they are of good intention, I usually like to throw out the answer they weren't looking for and watch them get frustrated with my not so serious answer. I'm sure Mission Hills, California doesn't seem as â€Å"exotic† as Sinaloa, Mexico might sound (which is where my father is from), but I would still much rather be here than over there. Even though we are only a few hours away from Tijuana, Mexico; I still haven't even been to any part of Mexico. However, my eventual answer is that my heritage, or â€Å"ethnicity† is Mexican-American. Helen Zia needed someone to question the origin of her name, actually guessing if it was Pakistani, to help her awaken her own personal American revolution. Up until then, Zia was, â€Å"someone living in the shadows of American society...†(1). Later on, while discussing civil rights with her friend Rose, Rose badgered her saying, â€Å"Helen, you've got to decide if you're black or white.†(1). Problem was, she still wasn't really sure what she saw herself as, since the term â€Å"Asian American† hasn't been coined yet. The problem with racially identifying yourself, is that it is a complicated mixture of information that you absorb sub-consciously, â€Å"Everybody learns some combination, some version, of the rules of racial classification, and of their own racial identity, often without obvious teaching or conscious inculcation. Race becomes "common sense"- a way of comprehending, explaining and acting in the world.†.(5) The main problem is, when you ask an Asian-American to racially define themselves, they may have trouble defining themselves, similar to Helen Zia, not being sure exactly what she is. Zia felt that other â€Å"Americans† viewed her as the enemy, so she would be discriminated even though she wasn't the person we were fighting at the time, let alone the correct â€Å"race†. Victor Wong went through similar situations, referring to his face as, â€Å"the face of the enemy.†(3). While we may have only been at war with one country from Asia at a time, whether it be with China, Japan, Vietnam, Korea, etc., The average American who wasn't out to war with a gun, was at war with all Asians in their own communities using their hard head as their weapon instead, and boy was it effective. This mindset that people have against Asian groups, turns them into â€Å"perpetual foreigners†(4), who no matter how long they live in the United States, they will always be labeled as foreigners from another country. It is not fair that we treat the ancestors of those who came here in the 1800's, working hard in the mines, and plantations, helping build the nation to what it is today, with disrespect. Even if it is not a direct ancestor, we should not be prejudiced towards any Asian group, because we all did our part in developing this nation, so we all deserve a piece of the proverbial American pie. Choosing your race seems like something that is not up to you, it seems like something that other people make up to help define you so they can single you out and put you into some group. However, â€Å"The effort must be made to understand race as an unstable and "decentered" complex of social meanings constantly being transformed by political struggle.†(5). Victor Wong said he had to â€Å"make my own manual to live in this country.† because being Asian-American was not simple. Race is not set in stone, since it is a mixture of many forces that come together to define the race, it constantly change from time

Behaviors and Strategies for the Home and School Setting Term Paper

Behaviors and Strategies for the Home and School Setting - Term Paper Example Studies have suggested that positive behavior management techniques need to apply over children by their parents that can lead to positive reinforcement in the children for positive behavior (Bowles, 2010). Through the behavior management techniques, the parents can clearly set their expectations in terms of maintaining the discipline and behavior. Redirection, time-outs, communication and expression are some of the tools that parents can make use of in order to initiate and effectively implement the behavior management techniques in the children (Bowles, 2010). The present study is focused on the behaviors and strategies of management behavior that can be used by parents for the development of their children, and discusses how the family centered approach support the early childhood classroom and the family of the child. It is believed that Family Centered Program theories and concepts support the early childhood classroom and the child’s family. Acknowledgement of Positive B ehaviors in Children: In a classroom of small children of three or four years of ages, it has been obtained that the children have troubles with changeovers and evolutions. Often the irritated behaviors and attitudes of the teachers in a classroom tend to affect the behavior of the children more. The small children instead of being disciplined and normal reflect their agitated behavior that leads to disruption of the entire classroom. Acknowledgement of positive behaviors among the children is a method that allows teachers, elders and the parents of small children to understand the motives and psychology of the children in a better manner (Timm & Doubet, 2007, p.2). This particular strategy allows the educator and family members to give greater amount of time and attention to the children thereby trying to understand the behavior of individual child. The strategy had been obtained depending on certain major findings based on research. Firstly, nearly all child behavior is reinforced or undermined by the happenings following any particular behavior. â€Å"For example, a toddler who receives laughter and applause for making a funny face is likely to keep making funny faces† (Timm & Doubet, 2007, p.2). Secondly, in general the attention of the adults is captured when a child misbehaves. It can be said that teachers and parents tend to be put under by a child’s misbehavior, apparently not capable of attending to suitable behavior by other children. Thirdly, consideration from major caregivers is highly vital for young children. This leads to continuation of a behavior that creates negative reactions. â€Å"The result can be an increase in the very behavior that adults wish to discourage. For example, think about a child who continues to run toward the classroom door over and over again as the teacher shouts, â€Å"Don’t make me come over there; you know not to leave the classroom!† That kind of attention will reinforce and increase tha t behavior† (Timm & Doubet, 2007, p.2). Lastly, although any particular behavior of a child may be momentarily undermined by a unenthusiastic reaction from an adult, but it cannot be asserted that more attractive manners are being recognized and given confidence in the course. â€Å"For example, telling a child that she cannot go outside

Campaign Design Essay Example | Topics and Well Written Essays - 2000 words

Campaign Design - Essay Example world’s population are living with chronic diseases such as diabetes, hypertension, arthritis, cardiovascular disease, mental health conditions, and more. Therefore, AARP came up to advocate for changes in the health sector in order to improve the health condition of the ageing generation. AARP is a lobby group that released a report in 2009 stating that patients experience lack of coordination from health providers, specifically by receiving repeat tests and procedures, unnecessary hospitalizations, and difficult transition from hospitals to homes (Whyte, 2012). AARP is a lobby group that wants the elderly to move away from traditional ‘doctor/patient ‘roles. The group wants its members to embrace their own involvement in health care and in exploiting alternative medical options (Kazbare,Van & Eskildsen, 2010). The group combines with the consumerism movement to empower its members. In addition, the group exercise control in requesting second opinions from doctors and alternative treatment methods in health care decisions (Halfmann, 2011). There is the issue of over-medicalization of aging. AARP always addresses this question: (i) at what point as people as age do, we become accepting of aging and stop rushing to a physician all of the time? (ii) How do people decide whether to fix a problem if it has more to do with later years of life than with a traditional medical ailment? And (iii) Can people depend on their physicians to clearly tell them when a medical problem is as easily addressed by physical therapy as by a surgical procedure of some type- especially when there are low-tech ways to improve the situation (Rasmussen, 2014). According to AARP, old people must consider above question. The group argues that medicalization of ageing potentially exposes seniors to more and more risks without really solving the problems. AARP is a lobby group that addresses the challenges in the health sector, especially the issue of staffing. The group does not just

The History of Chocolate Essay Example for Free

The History of Chocolate Essay The first recorded evidence of chocolate as a food product goes back to Pre-Columbian Mexico. The Mayans and Aztecs were known to make a drink called Xocoatll from the beans of the cocoa tree. In 1528, the conquering Spaniards returned to Spain with chocolate still consumed as a beverage. A similar chocolate drink was brought to a royal wedding in France in 1615, and England welcomed chocolate in 1662. To this point chocolate as we spell it today, had been spelled variously as chocalatall, jocolatte, jacolatte, and chockelet. 11 In 1847, Fry Sons in England introduced the first eating chocolate, but did not attract much attention due to its bitter taste. In 1874, Daniel Peter, a famed Swiss chocolateer, experimented with various mixtures in an effort to balance chocolates rough flavor, and eventually stumbled upon that abundant product milk. This changed everything and chocolates acceptance after that was quick and enthusiastic. GROWING COCOA BEANS Cocoa beans are usually grown on small plantations in suitable land areas 20 degrees north or south of the Equator. One mature cocoa tree can be expected to yield about five pounds of chocolate per year. These are planted in the shade of larger trees such as bananas or mangos, about 1000 trees per hectare (2,471 acres). Cocoa trees take five to eight years to mature. After harvesting from the trees, the pods (which contain the cocoa beans) are split open, beans removed, and the beans are put on trays covered with burlap for about a week until they brown. Then they are sun dried until the moisture content is below 7%. This normally takes another three days. After cleaning, the beans are weighed, selected and blended before roasting at 250 degrees Fahrenheit for two hours. Then shells are removed leaving the nib. Nibs are crushed to create a chocolate mass. This is the base raw material from which all chocolate products are made. KINDS OF CHOCOLATE Milk Chocolate This consists of at least 10% chocolate liquor (raw chocolate pressed from carob nibs) and 12% milk solids combined with sugar, cocoa butter (fat from nibs), and vanilla. Sweet and Semi-Sweet Chocolate Are made from 15-35% chocolate liquor, plus sugar, cocoa butter, and vanilla. Imprecision of the two terms causes them to commonly be called dark or plain chocolate. Dark chocolate has a large following among dessert makers, and for this reason is referred to as baking chocolate. Bittersweet and Bitter Chocolate Bittersweet usually contains 50% chocolate liguor and has a distinct bite to the taste. Bitter or unsweetened chocolate liquor also is used in baking and is also referred to as bakers chocolate. Creams and Variations Bite sized and chocolate covered. They are filled with caramels, nuts, creams, jellies, and so forth. White Chocolate Is not really chocolate as it contains no chocolate liquor, Carob This is a brown powder made from the pulverized fruit of a Mediterranean evergreen. It is used by some as a substitute for chocolate because it can be combined with vegetable fat and sugar, and made to approximately the color and consistency of chocolate.

Falling Behind by Robert Frank Essay -- Falling Behind, Robert Frank

Robert H. Frank’s book Falling Behind is a short, lucid, and compelling account of what is going on with the middle class†(Alexander Kemestrios Ben). That is what one reviewer on Amazon.com commented about Frank’s book Falling Behind: How Rising Inequality Harms the Middle Class. In order to engage readers and support their ideas, most argumentative nonfiction books use statistics, logical reasoning, personal anecdotes, and real-life examples. While all of these strategies such as should make an interesting and compelling argument, the question is not of how interesting the book is, but rather is it or is it not a quality argumentative nonfiction book? Before answering that question, we must first consider what makes a quality argumentative nonfiction book. A quality argumentative nonfiction book should engage readers with entertaining and unique ideas and also have well-explained and simplified ideas that are easy for the audience to understand. By these standard s, Falling Behind is partially a quality argumentative nonfiction book because, although it fully meets the criterion of having entertaining and unique ideas, it only partially meets the criterion of having well-explained and simplified ideas. In addition to being â€Å"the Henrietta Johnson Louis Professor of Management and Professor of Economics at Cornell's Johnson Graduate School of Management,† Robert H. Frank is also â€Å"the co-director of the Paduano Seminar in business ethics at NYU’s Stern School of Business†(â€Å"Faculty and Research†). He earned a â€Å"B.S. in mathematics from Georgia Tech† and â€Å"an M.A. in statistics and a Ph.D. in economics† from the University of California at Berkeley (â€Å"Faculty and Research†). Frank has written and cowritten many books, as well as various... ...zon.com. Amazon, 2014. Web. 10 Feb. 2014. â€Å"Falling Behind: How Rising Inequality Harms the Middle Class.† Goodreads. Goodreads, 2014. Web. 10 Feb. 2014. Finn, Daniel. "Smart for One, Dumb for All." Commonweal 135.5 (2008): 22+. Academic OneFile. Web. 6 Feb. 2014 Frank, Robert H. Falling Behind: How Rising Inequality Harms the Middle Class. Berkeley: University of California, 2007. Print. Gross, Daniel. "Thy Neighbor’s Stash." NYTimes.com. Ed. Andrew Rosenthal. New York Times, 5 Aug. 2007. Web. 6 Feb. 2014. â€Å"Herpangina† MedlinePlus. U.S. National Library of Medicine, 3 Feb. 2014. Web. 6 Feb. 2014 "Robert H. Frank." Contemporary Authors Online. Detroit: Gale, 2013. Gale Biography In Context. Web. 5 Feb. 2014. Whaley, Mary. "Falling Behind: How Rising Inequality Harms the Middle Class." Booklist 1 July 2007: 15. EBSCO Academic Search Premier. Web. 6 Feb. 2014.