Assess the View That Conscience Need Not Always Be Obeyed

â€Å"Asses the view that the conscience need not always be obeyed† (35 marks) Conscience is the inner conviction that something is right or wrong. In a religious discussion, it may be thought of as the ‘voice of God’, speaking within the individual, and even as a direct revelation from God. John Newman defines the conscience as â€Å"the voice of God†, a principle planted within us, before we have had any training, although training and experience are necessary for its strength, growth, and due formation that is an â€Å"internal witness for both the existence and the law of God†.Newman shows how the light of conscience, active in every human heart, finds fulfillment not in subjectivity and in the communion of the Catholic Church. Newman’s view was that it is often said that second thoughts are best. So they are in matters of judgment but not in matters of conscience. Aquinas saw the conscience as the natural ability of a rational human being to understand the difference between right and wrong, and to apply the most basic moral principles to particular situations.Aquinas thought that there would be problems with people following their own moral sense, which lead him to natural moral law (NML). He thought that everyone should follow NML because they are moral laws found in nature (e. g. sex for procreation). He thought that the conscience was the intellectual part of you because you work out what to do using natural reasoning. Without following NML, people might have distorted judgments from their passions, ignorance and society and therefore different views on right and wrong.Therefore although he says that it is always right to follow one’s conscience, he does recognise that people may still get things wrong, through ignorance or making a mistake. Therefore Aquinas would not say that conscience should always be obeyed because a person may not be aware of the relevant moral principle. In order for conscience to work, a person needs to have some background information about what is considered right and wrong. The idea of conscience is used as a tool for applying already accepted moral principles.Aquinas considers conscience to be the means that individuals use to apply the general moral principle that they hold. Aquinas believed that it is always right to follow your conscience when you apply the right moral principles to each individual situation to the best of your ability. It does not mean that by following you conscience that you will always be right, if your principles are wrong then your conscience will lead you astray. Aquinas was overall saying that the conscience can be wrong if the reasoning through was wrong.In contrast, Copleston makes the important point that for most people the emotions rather than reason provide the starting point for moral choice. Joseph Butler viewed the conscience differently by believing that the conscious was a way of guarding or controlling influence ov er the different aspects of human nature. Butler argued that there were two different aspects to human beings; one being the passions and appetites, including the affections people have and also that there are more thoughtful aspects of benevolence towards others and conscience, as well as self-love.Butler argued that these various parts were ordered in hierarchy, that there are situations where the conscience, being superior in the hierarchy, is able to over-rule the promptings of the appetites of affection. For Butler, the moral life was a matter of getting the hierarchy ordered in the right way. In this hierarchy, conscience comes at the top, because it has the additional role of sorting out the conflicting claims of self-love and benevolence and that the balance is crucial for making moral decisions.In some ways, Butler’s account of the role of conscience is rather like Plato’s view that reason should control appetite. His overall view was that a good person is som eone who has his or her priorities well sorted, with the promptings of conscience ranking highest among them. Newman defines conscience as â€Å"the voice of God†, â€Å"a principle planted within us, before we have had any training, although training and experience are necessary for its strength, growth, and due formation† that is an â€Å"internal witness of both the existence and the law of God. Newman shows how the light of the conscience, active in every human heart, finds fulfillment not in subjectivity and individualism, but in obedience to the teachings of the Pope in the communication of the Catholic Church. He said that is it often that second thoughts are best. So they are in matters of judgment but not matters of conscience. Freud’s two key aspects to his approach were assertion that sexual desire is the prime motivating drive in all humans, and the importance of the unconscious mind.Freud’s theory of the conscience is entirely in conflict wi th all of the positions of Aquinas, Butler, and Newman. He saw the conscience as part of the unconscious mind, and believed that it arose as a result of bad experience in early life as well as disapproval from parents and society. Our human psyche is equated within the ego (our conscious personality) which balances the ‘ID’ (our desires) and the ‘SUPEREGO’ (our guilt). To be ruled by your superego would make you overly judgmental, inflexible, and irrational.Freud would argue against allowing the conscience to have control over our decisions about how we act. Freud believed that the conscience was a concept of the mind that sought to make sense of disorder and deal with the conflict that guilt brings. Freud believed that during our early upbringing we accept certain values and beliefs about morality and society, which may at some stage be rejected by our moral reasoning. However, these early formed values and beliefs still continue to influence our morality through the conscience that seeks to deal with the conflict that the early beliefs and later beliefs bring. ?

A Critique of Theoretical Models

In How to help people change, Dr. Jay Adams (1986) does not present a model of counseling per se. Instead, he provides an analysis, better yet and interpretation 2 Timothy 3:16. The interpretation is presented definitively as the sole method of acceptable counseling from a Christian and biblical context. One major flaw in his work is the underlying theological presupposition that only Christian people utilizing the framework he outlines can offer a process for counseling that results in what he calls acceptable change. Another unreasonable position held by Adams is the idea that change is only acceptable if it is â€Å"toward God† (p. 6).While this is certainly true in regards to salvation and the biblical directive to be a living sacrifice before God (NASB, Romans 12:1), even Jesus acknowledged that both the righteous and the unrighteous live under some measure of God’s grace and benefit (Matthew 5:45). It is unsustainable to hold a position that unredeemed persons are not able to observe God’s purpose and design in humanity and offer some level of help, in the context of counseling, even if it is not totally in alignment with God’s Word. I admire Adams stance and value on Scripture.In his book, he presents a view of the Bible that is an essential inhabitant of the Judeo-Christian worldview and value system. Nevertheless, he does not allow for elements of God’s truth to be discovered or evaluated from a perspective outside of the pages of Scripture. Adams says that â€Å"if it is a truth that is necessary to counseling, it will be found already in a purer form in the Bible† (p. 39). Honestly, one nearly has to reject intellectual credibility to formulate this type of statement because the Bible simply does not address a lot of issues tackled in the therapeutic sessions today.I wonder what would be Adam’s solution for a client’s disorderly and unrestrained sexual addictive behavior. The first solution woul d be to direct them to the Bible verses that as a Christian, they already know. Another solution would be to remind them that they should be reading the Bible and praying more than ever. In reality, if neither of those approaches work, then the nouthetic counseling approach would conclude that a person is one whom God has turned over to their own â€Å"degrading passions† (NASB, Romans 1: 26) thus breaking fellowship with them.Logically, one could see and would reason that sexual addictive behavior is rooted in an intimacy disorder, therefore once that is understood, biblical principles and theological understandings should under-gird the counselor’s approach to helping a counselee work towards healthy healing with the dilemma. According to Adams (1986), â€Å"†¦people must first hear the gospel, believe, and be saved† (p. 12). Seriously, this cannot be the first step in a counseling model. I believe that it would be a desired goal and that it could even be the best.Conversely, the counselor must meet a person where he or she is in life. Furthermore, it may be that a therapeutic relationship of trust must be built before the counselor even has an opportunity to introduce the idea of a relationship with Christ. In addition, even though it sounds unspiritual to say, the counselor must accept that some people are able to adjust and live well as non-Christian persons. They may not end up going to Heaven, but we cannot deny that some non-Christians live seemingly fulfilled lives.Dr. William Backus and Marie Chapian (2000) offer a good biblically based cognitive-behavior resource for dealing with feeling based concerns where cognitive awareness exists or is readily accessible in their book Telling Yourself the Truth. In addition, this writing provides a good dialogue about a Christian perspective concerning a person’s self-worth. However, there are some basic flaws in the model of Christian counseling as presented by Backus and Chapi an.It is not acceptable to present the concept of â€Å"attitude† as if it only involves cognition (p. 16). In addition, Backus and Chapian offers a very simplistic understanding regarding triggers. It is doubtful that a counselor who works with persons involved in addictive behavior and sexual brokenness concerns would agree with Backus and Chapian’s etiology of self-hate. The most troublesome aspect of this model is their idea that â€Å"misbeliefs are the direct cause of emotional turmoil and maladaptive behavior† (p. 17).This statement alone demonstrates that Backus and Chapian do not understand developmental processes and that their perception concerning the impending impact of childhood experiences is feeble, at best. It is almost an absurdity to conclude that the primordial mental representations, including feelings, which are the basis for the characterological development of a person, language and socialization, are â€Å"caused by what we tell ourselv es about our circumstances† (p. 17). Even with such flaws, it is agreed that Backus and Chapian’s model is useful in a cognitive-behavioral context concerning many adult concerns.In positioning their model of counseling as more appropriate than secular methods, Backus and Chapian state that â€Å"many excellent scientific investigations have demonstrated that it is entirely unnecessary to uncover the childhood antecedents of current behaviors in order to change them† (p. 25). However, there was no citation or reference provided to document existence of such scientific studies. Consistent with Adams, Backus and Chapian ascribe to the theological position that â€Å"Jesus taught that the truth has freeing power† (p. 181).However, Jesus actually said, â€Å"You shall know the Truth and the Truth shall set you free† (NASB, John 8:32). While Jesus was referring to His spoken word, it is also important to remember that according to John 1:1, Jesus is the Word and the context of John 8:32 presents Jesus as the light of the world. Both writings overemphasize the importance of the Word of God to the point of minimizing the importance of a relationship with Jesus. Backus and Chapian’s model, as does Adams’ models, fall short in a range of areas with scores of rationales.One area where the two counseling models are inadequate is in working with trauma-based concerns. There is no consideration for fear-based trauma memories resulting in cynical planning which bypasses cognitive function. Further there is no consideration in either counseling model for understanding concerns where the etiology of a problem is rooted in an attachment disorder. Of course cognitive-behavioral methods are appropriate in dealing with such concerns. However, it is inadequate to conclude that the sole method of treating attachment pathology is a focused effort towards changing one’s thinking process.It is interesting that neither Adams nor Ba ckus attempted to provide a framework for personality organization when presenting their counseling model. Rather, they both expend a great deal of effort in standing against the writings and views of others. It would be desirable that evangelical authors would stop writing about what everyone in the Psychology field is doing wrong. Instead, it would be helpful to develop a theory or model of personality and counseling that all Christian persons could work towards maturing and developing.It seems wasteful to continue presenting emotionally charged views against others at the expense of building our own Christian understandings. References Adams, J. E. (1986). How to help people change: The four-step biblical process. Grand Rapids, MI: Zondervan. Backus, W. & Chapian, M. (2000). Telling yourself the truth: Find your way out of depression, anxiety, fear, anger, and other common problems by applying the principles of misbelieve therapy. Minneapolis, MN: Bethany House Publishers.

The Source of Creativity in Writers

We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creation s of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well.  ¹ Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separat e writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is i n going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naà ¯ve day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite ext ensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we h ave as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the oth ers.We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. The Source of Creativity in Writers We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creati ons of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is e asily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no dou bt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensi ve. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also , at least for the moment, to the end of our discussion.

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Business Proposal - Case Study Example The trust that has been created at various departments of the company has helped Tata to establish several institutes like Indian Institute of Science, Tata Institute of Fundamental Research and Tata Institute of Social Sciences among others. The employee welfare aspect of Tata is so strong that it had created various facilities for their employees. The employees have to work 8-hours during the day; provident fund and maternity leave are a few of the facilities that are provided to the employees of Tata Group. In the year 2010-2011, Tata Group had contributed around US$170 million towards the upliftment of social causes (Tata Sons Ltd, 2012). The main objective of the paper is to develop a comprehensive understanding of the leadership strategies implemented by Tata Group to facilitate its business in India and all around the world. Based on the analysis, business proposal will be presented to the company which can enable it to gain further benefits and ensure sustainability. Role of the Leader in Initiating and Managing Change Leadership in any organization plays a vital role to take it to newer heights. Similar scenario can be observed in case of Tata Group as well. It is recognized to transform its operations in recent years for initially operating as a slow-moving giant which is risk-averse to a conglomerate which is dynamic and aggressive in its decision making. In this turn-around of approach, the leadership standpoint of Mr. Ratan Tata, the Chairman of Tata Group has been a major factor. He has taken certain remarkable initiatives that have led the organization to attain major growth and distinction. Thus, Mr. Ratan Tata, as a pioneering and diligent leader can be largely attributed to the ensuing growth of Tata Group (Prasad, Govind, & Sesha, 2008). The leaders of Tata have set up various strategies in order to get through the diverse competitive situations that took place at the organization. The leaders at Tata under the guidance of Ratan Tata have an immense sense towards directing the company at different directions depending on the demand of the company. The leaders of the company provide utmost significance to the employees of the organization and they gain a lot of importance in the company. The company shares five important principles like excellence, understanding, integrity, responsibility and unity (Prasad, Govind, & Sesha, 2008). The leaders of Tata utilize all the five principles to overcome all the changes that take place in the company. Tata Group has set up cost leadership approach for further expansion of the organization. The leaders had analyzed the position of Tata through the business model of the organization. The Tata Business Excellence Model (TBEM) has been the major driving force behind the transformation which has taken place in the organization. This business model has facilitated the company to ensure that business objectives of the company are attained keeping in consideration the due significance of r endering quality to the consumers (Prasad, Govind, & Sesha, 2008). The leaders at Tata finally decided that if the products of the company become more standardized then the cost of those products can be reduced quite easily. This strategy helped the company to develop a steel industry at Jamshedpur. Moreover, it has been viewed that the leaders at Tata has gained success

I predict that the juice will have at least 2 Essay Example for Free

I predict that the juice will have at least 2 Essay I predict that the juice will have at least 2 or more of the same amino acids as the ones in the amino acid mix. I predict that the amino acid more likely to occur is aspartic acid, as lemon juice is acidic. Method We first extract some lemon juice from a lemon. Cut the lemon around the equator and squeeze it with a juicer.   Pour the juice into six tubes at approximately the same level each. Place the tubes in a beaker and weigh them (remembering to tare the beaker first). Make pairs of tubes of equal mass by adding or taking out juice with a clean pipette) and place them opposite each other in the centrifuge and set it to run for 5 minutes. After centrifuging the juice, pour all the supernatant into a beaker and wash out the solid precipitate from the tubes.   Take 2 samples of the raw centrifuged juice in tubes, label and put them away.   Add alcohol to the remaining juice with the ratio of 1:3 (1unit of juice to 3 units of alcohol).   Centrifuge the juice + alcohol after weighing out pairs of equal mass in the tubes again. Pour the supernatant into a beaker and take 2 samples if the juice + alcohol, label them and put them in a beaker to be put away. Results of centrifuged juice: Pair no. Mass of 1st tube Mass of 2nd tube Places in centrifuge 1 7. 85g 7. 85g 1,7 2 9. 82g 9. 82g 12,6 3 7. 20g 7. 23g 8,2 Results of centrifuged juice + alcohol: Pair no. Mass of 1st tube Mass of 2nd tube Places in centrifuge 1 10. 29 g 10. 29g 12,6 2 7. 32 g 7. 32 g 1,7 3 7. 69 g 7. 68 g 8,2 Making the chromatogram Before you begin spotting the chromatogram, you should:   Wash your hands (sweat contains amino acids)   Hold paper at edges. Place paper on two clean sheets of file paper   Only use pencil for markings on the paper Use a micropipette to spot the various substances on the chromatogram. They should be in the following order: Juice, Juice + Alcohol, Amino acid mix, Asp, Leu, Lys, Pro. We can now spot these substances onto the chromatogram. Dip the micropipette into a substance and touch the paper 5 times on the same spot, waiting a few seconds after each touch. However when spotting the juice + alcohol, the paper must be touched 7 times instead of 5 (Make sure to use the same micropipette for each component). After spotting all the substances, put the chromatogram onto a frame along with all the other chromatograms and place the frame into the fume cupboard and into the solution for the chromatography to take place. After chromatography had taken place:   Carefully remove chromatograms from the frame.   Spray with ninhydrin and then supply with heat for the reaction between the amino acids and the ninhydrin to take place, causing the colorless amino acids to show up in a certain color. Put an x in the darkest region of color for each substance and outline the entire regions of color too. Measure the distance between the origin and the solvent front, and the distances between the origin and the top, bottom and darkest region of each amino acid. With these measurements, calculate the Rf Values. My Rf Values: Rf ? Distance moved by component from origin Distance moved by solvent front from origin The order of calculations go up the chromatogram, h Therefore the 1st amino acid (aa) will be the one closest to the origin for that particular substance. Diagram of chromatogram in frame: Evaluation The amino acid found in the lemon juice was Aspartic acid, this supports my hypothesis. We can prove this because the x on the aspartic acid and the x on the 2nd amino acid in the juice are aligned, and so have traveled approximately the same distance from the origin, hence telling us that they must be the same amino acids. There is one other amino acid in the juice that we cannot identify using my chromatogram as it was not present in the amino acid mix. The spot did not align with any other spot on the chromatogram, and so showing that it is a different amino acid to the ones present. Not all the spots were the same size; some were a lot bigger. This could have been caused by too much of that substance being spotted onto the chromatogram, and so causing the amino acid to spread too much. After chromatography had taken place, the chromatogram was sprayed with ninhydrin and then heated. When a certain temperature is reached, a sudden reaction occurs between the ninhydrin and amino acids, causing each amino acid to give out a particular color. This reaction is helpful in making the amino acids visible to the naked eye. Because of the large spread of some amino acids, we end up with a large spread of color. This makes it difficult to determine the exact darkest region of that color, and so may cause the results to be slightly inaccurate. An example of this is with Leucine. I may have added too much Leu onto the chromatogram, causing it to spread quite largely, resulting in a large purple spot. I had marked what I thought was the darkest region of the spot with an x. However that mark was aligned with the mark for Pro and so indicating that they are the same amino acid. This is impossible, but may have been caused by either: Misinterpreting the darkest region of the spot (marking the wrong place) Accidentally using the same micropipette for two substances It would make more sense if the mark on the spot for Leu was closer to the top of the spot, where it would be aligned to one of the spots in the amino acid mix. The 1st amino acid spot for the juice had a smaller spot within it. The smaller spot even showed up as a different color to that of the larger spot, so it must be just another amino acid, not present in the amino acid mix. I could have improved this experiment by making sure that I do not add too much of a substance onto the chromatogram, by getting a second opinion on whether I had marked the darkest region of a spot or not and/or by using a wider variety of amino acids to identify the other amino acids in the juice which do not align with any others.

Is War Ethical Essay Example for Free

Is War Ethical Essay The question, is war ethical, should always be the first question asked and the first question answered before engaging in such a world altering, life changing endeavor. One must be sure that purpose of war is to bring peace. â€Å"That its essential aim is always peace, so if peace is forthcoming in any guise, it is morally critical for all parties to seek a return to a permanent peace rather than a momentary lapse of war† (Moseley). Unfortunately, this is not the mindset of Falcon, one of the charters in The Sirens of Baghdad. He is militant; consumed with Thanatos and with an â€Å"appetite for destruction† (Hedges 251) towards the American troops; Falcon in the event below is determined to deceive and poison the minds of his brethren against the Americans troops. The event with Falcon takes place at the barbershop in Karfr Karam. Falcon and the elders of the town are gathered there, discussing the capture of Saddam by the American force in Iraqi. After some of the elders expressed their gratitude for the Americans capturing Saddam. Falcon takes this opportunity to place his seeds of doubt. He tries to unethically persuade his brethren. He expresses to them that the Americans had no right to go after Saddam and insists that it was the people of Iraqis responsibility. He believed it was because of every Iraqi’s cowardice that Saddam tyrannized them. He references this when he said, â€Å"People have the kings they deserve† (Khadra 32). He then expressed that Saddam may have been a monster but added that he was their monster. Falcon went on to explain that Saddam was one of them and shared their blood. He added that Saddam may have been a tyrant but he was Iraqi and therefore the Americans had no business touching or going after him. Falcon expressed that he would rather have Saddam still in power rather than the infidel American troops in Iraq. Falcon believed it was the Americans’ force, not Saddam that put Iraq in dire straits. Falcon says, â€Å"Look at what they’ve made of our country: hell on earth† (Khadra 33). Falcon’s behavior is fueled by Thanatos just as the behavior of the Islamic clerics was when they were determined to convert their countrymen into devout Muslims. â€Å"They spurned the decadence of the West including what the clerics condemned as the West’s loose sexual mores, drug use and thirst for sensual gratification†(Hedges 260). In that very moment Falcon was purposely lying to demoralize the American troops. He was trying to persuade his audience that the Americans did not come to free Iraq and bring peace. Falcon felt Saddam was an excuse to take Iraq’s resources and pillage their towns and cities. He tried to fill his audience’s minds with doubt and mistrust. He was unethically deceiving his community the same way real life insurgents behave in the Iraqi war. Tariq say’s, â€Å"More and more Iraqis were fooled by the insurgents propaganda, and the attacks aimed at Americans and their supporters increased. My country †¦ has suffered greatly from the insurgency, and we have lost many people who believed in the U. S. message† (Abandoned in Iraq). Falcon, just like the real insurgents in Iraq dedicated to their unethical war, chose an unethical path. He spread deceitful lies and led his brethren into the jaws of Tahantos instead of guiding them towards a life of peace and happiness. The next event in The Sirens of Baghdad is fueled by the insurgents’ use of deceitful tactics. In pursuit of their unethical war, they purposely caused innocent lives to be lost in order to create media propaganda to recruit the naive young men of Iraq. They dressed in civilian clothing and hid among the people. They used the innocent women and children for cover and human shields. â€Å"A populace†¦. held hostage by a group of ragged, starving ‘rebels,’ armed with filthy rifles and rocket launchers† (Khadra 76). Their actions and behaviors are very similar to those of the real insurgency and their unethical war in Iraq. An example of this is when they gave young school children realistic toy guns to play with at the very same check points their relatives work at with US troops. This was obviously done to cause innocent bloodshed which, in turn, will create some type of media propaganda for their cause. Specialist Raven Jenks says, â€Å"It’s to train the kids to use real weapons, and also to provoke us into killing civilians (Iraq’s young Blood). The insurgency uses this unethical tactic to create media propaganda of war. This is for the sole purpose of causing despair and rage within the people of Iraq to brainwash them and turn them against the forces that are sent to help. In the event described below, Yassen is one of the first young men in the Sirens of Baghdad to be won over by this unethical war tactic. The event takes place in the cafe in Kafr Karma. Seeds of doubt and deception have already reached the minds of Kafr Karma’s youth about American troops. Before departing for Bagdad, Sayed, Falcon’s son, purposely left a parting gift of a television for Kafr Karam’s youth at the cafe. He did this in hopes the youth would not forget his message and â€Å"that the young men of Kafra Karam would not lose sight of their country’s tragic reality† (Khadra 74). Along with the seeds of doubt and deception already planted within the young men’s minds, this gift â€Å"proved to be a poisoned chalice† (Khadra 83). It served its purpose well. The youth were griped with the images of war and enraged by the lost of innocent blood shed of their people. They began to sway to the side of the insurgency unethical war; â€Å"applauding successful ambushes and deploring skirmishes that went wrong† (Khadra 84). The young men of Kafr Karam were growing closer to Thanatos everyday and the temptation to â€Å"honor false covenants †¦. and gender† (Hedges 250),such as Saddam, was taking affect. Fully aware of the unethical wrongs Saddam committed, the youth still began to further familiarize themselves with him. Their initial delight for his capture turned to frustration. One of the youth, Yaseen, felt the publicity portraying the capture of Saddam portrayed him as a rat; dirty, confused, unshaven, and exposed to the cameras of the world. Yassen took offense to this and announced â€Å"by humiliating him like that, they were holding up every Arab in the world to public opprobrium† (Khadra 84). Yassen was clearly won over by the insurgency’s propaganda and unethical chose to aid in spreading its lies and deceit. The insurgency’s seed of doubt and deception enforced by their media propaganda enforced their campaign for the loyalty (Hedges 250) and paid off. The insurgency gained a new recruit from Kafr Karam to join their unethical war. The final event described below from The Sirens of Baghdad is a fictional example of the ultimate insanity of the insurgency’s unethical war. The Iraqi insurgency preys on the young men and boys who have been submerse in violence; â€Å"the closest analogy may be to the Taliban in Afghanistan. They offer these orphans of war a different kind of family structure cemented by the bonds of Islam†(Iraq’s Young Blood). These young Iraqis want to belong but more importantly crave purpose. Their minds are impressionable, easy to manipulate and brainwash. Making them the perfect candidates to turn into suicidal human weapons. The event described below from The Sirens of Baghdad bear witness to this product of unethical war. The main character (the narrator) turns himself into human weapon. The final event takes place in Beirut, Lebanon. The narrator has been groomed by his cousin Sayed (a member of the insurgency) since his arrival in Baghdad form Kafr Karam. The narrator, who has longed to become a suicide bomber, now receives his chance. Fully aware of his cousin’s fate, Sayed still makes the unethical decision to offer the narrator the mission. Sayed says, â€Å"you wanted some action†¦. Well, the miracle has taken place†¦. mission is now possible† (Khadra 236). The narrator accepts the unethical mission. Delighted, but aware of the possibility the narrator may change his mind before the mission, Sayed makes the unethical discussion to manipulate his young cousin once again. He says, â€Å"Kafr Karam, the forgotten, will take its place in history† (Khadra 237). Those words send the narrator into a state of purpose and honor. This is evident when he says, â€Å"He had lifted me up into the ranks of those who are revered† (Khadra 237). The narrator has made the unethical choice to become a human weapon.

Colonialism and Immigration Restriction Act of 1901

Colonialism and Immigration Restriction Act of 1901 Alan Taylor Are Colonialism and the â€Å"Immigration Restriction Act of 1901† really dead in Australia? In this essay I will propose that colonialism and the ‘Immigration Restriction Act aka White Australia policy’,[1] are not dead, not just yet anyway. I will briefly outline some of the tensions in the community which led to the implementation of this policy in 1901. I will also investigate how the media of the day helped this policy along. I will then go on to explain how this policy, which was enacted to stop non Europeans entering Australia, effected the Indigenous population throughout the life of said policy. I will then go on to see if some points from this policy are being revived in today’s political environment, or is it just coincidence that these new legislations seem to align themselves with the White Australia policy of yesteryear. Also I will briefly examine if these new policies breach the ‘Human Rights Act’. One in particular, Operation Sovereign Borders,[2] designed to stop refugees entering the country illegally. By the end if this es say I should be able to answer the question posed above. The Immigration Restriction Act was the main component of a package of legislation acknowledged by the new Federal Parliament in 1901. It was premeditated to exclude all non-European migrants and also the Indigenous population who were deemed as not being Australian. This package also incorporated the ‘Pacific Islander Labourers Act and Section 15 of the 1901 Post and Telegraph Act’,[3] which provided that ships hauling Australian mail, and therefore funded by the Commonwealth, should provide work for white labour only.[4] The attitudes were in line with Australian nationalism of the late 1800s. And was a move to control non-European immigration to most of the Australian colonies dating back to the 1850s. The beginning of the White Australia policy began with the mining boom of the 1850s. The white miners anger towards the hard-working Chinese diggers ended in violence in Victoria and New South Wales. These two colonies governments initiated restraints on the immigration of Chinese people. Later, it was the turn of hard-working indentured labourers from the Pacific South Sea Islands known as Kanakas in the northern region of Queensland. The employees of factories in the south became strongly opposed to all forms of immigration which might threaten their employ; predominantly by non-white people who they thought would accept an inferior standard of living and also would work for lower wages. A number of influential Queenslanders felt that they would be expelled from the impending Federation if the Kanaka trade did not stop. Leading NSW and Victorian politicians advised that there would be no place for Asiatics or coloureds in the Australia of the future. In 1901, the new federal government voted for an Act ending the employment of Pacific Islanders and other non-white people. The Immigration Restriction Act 1901 obtained royal approval on the 23rd December1901. It was depicted as an Act to deliver certain limitations on immigration and for the removal from the Commonwealth of forbidden immigrants. The Act banned from immigration those considered to be insane, anyone expected to become a burden upon the public or upon any public or charitable institution. This also included any person suffering from an infectious or contagious disease of a loathsome or dangerous character. Other limitations put in place included a dictation test which was used to eliminate certain aspirants by entailing them to pass a written test. Often these tests were carried out in a language that the aspirant was not familiar with and had been selected by an immigration officer. With these strict measures in place the enactment of the White Australia policy was w armly applauded by most sections of the community. In 1919 the Prime Minister, William Morris Hughes, hailed it as the greatest thing we have achieved.[5] The Immigration Restriction Act demonstrates Australias stance toward immigration from federation until the later part of the 20th century, which preferred applicants from certain countries, most of these applicants were mainly of European nationality. The abolition of this policy occurred over a period of 25 years. After the 1949 election win of the alliance between the Liberal and Country parties, Immigration Minister Harold Holt permitted 800 non-European refugees to stay in Australia and Japanese war brides were allowed to enter Australia. Over succeeding years Australian governments steadily dismantled the policy with the final remnants being removed in 1973 by the new Labor government. The Immigration Restriction Act 1901 represents the official adoption by Commonwealth of Australia of racist policies that resulted in a form of immigration apartheid that grew out of racist 19th century community attitudes. Up until the middle of the20th century, these types of racist attitudes limited the Indigenous population from realizing the same rights as the white Australians. In the 1950s, many of the Indigenous population were relocated in missions where they had to abide to stringent conditions and to rely on handouts of food. A number were even forced to assimilate into white Australian society after being removed from their family homes as children, these were to become known as the stolen generations. The media throughout this period used cartoon images and headlines such as to put across the Government views on who should be allowed entry into Australia. While the policy which was enacted in 1901 to restrict the immigration of non Europeans has been dead, since 1973, I fear some components of said Policy are creeping back into today’s Policy making, in an age where we are considered to be in the post colonialism era. The measures undertaken during this period were helped along by the print media of the day, as it is today. On 21 June 2007, the Australian Government announced a ‘national emergency response to protect Aboriginal children in the Northern Territory’ from sexual abuse and family violence. This has become known as the ‘NT intervention’ or the ‘Emergency Response’.[6] The medium for the actions was the release of ‘Report of the Northern Territory Board of Inquiry into the Protection of Aboriginal Children from Sexual Abuse, titled Ampe Akelyernemane Meke Mekarle: ‘Little Children are Sacred’.’[7] Some parts of the ‘NT intervention’ policy, was to initiate extensive alcohol restrictions on the Aboriginal lands in the Northern Territory. The enforcing of school attendance by linking income support and family assistance payments to school attendance for all people living on Aboriginal lands and providing meals for children at school at the expense of the parents. Also the introduction of obligatory health checks for all Aboriginal children to aid in the recognizing and treating of health problems and any causes of abuse. As part of the urgent response to this emergency, there was an increase in policing levels in prescribed communities, including requesting verbal agreements from other jurisdictions to enhance NT resources, funded by the Australian Government. This was accomplished by improving authority by assigning managers of all government business to agreed communities.[8] As it stands, there is a need for considerable change for the NT intervention measures to be considered steady with Australia’s international human rights requirements. The Social Justice Report of 2007 outlined ten steps, to which I only mention a few, to modifying the intervention so that it is consistent with these obligations and ensures Indigenous individuals in Aboriginal communities in the NT equal treatment and full human dignity. In the 1990’s the Australian Government initiated Mandatory detention for Asylum seekers, under mandatory detention, any person who enters the Australian migration zone without a visa is located in a holding facility while health and security checks are carried out. At which time seemed fair. This in turn led to the Pacific Solution: 2001–2007 the Australian government policy of conveying asylum seekers to detention centres on island nations in the Pacific Ocean, while their refugee status was verified. In 2007, the Labor Party under Prime Minister Kevin Rudd discarded the Pacific Solution, by installing a more liberal asylum policy. Rudds government guaranteed to resolve all asylum claims within three months and closed the Nauru detention facility. In November 2012 Australia with the approval of Papua New Guinea opened an offshore processing facility on Manus Island, a remote location 800kms to the north of Papua New Guinea. It then started sending asylum seekers from Christmas Island, an Australian territory south of Java, to the Manus Island facility, over 4,800kms away. In July 2013 Australia then announced that all asylum seekers arriving in its territory by boat would, if they ascertain that these asylum seekers are actual refugees, would be resettled in Papua New Guinea, and not in Australia. In 2013 Amnesty International Australia released a report entitled ‘This Is Breaking People.’[9] This report looked into the Manus Island detention facility to see if the Labor government was in violation of the asylum seekers human rights. Also in the same year Amnesty International Australia also released another report entitled ‘The truth about Manus Island.’[10] They found that nearly five months into this new policy of sending the asylum seekers to Manus Island, it was clear that the Regional Resettlement Arrangement has resulted in a host of violations to their human rights. Some of the violations that they found were: ‘Asylum seekers are detained in the absence of any individualized assessment of the need for detention. Contrary to international law, the Regional Resettlement Arrangement with Papua New Guinea discriminates against asylum seekers on the basis of their means and date of arrival, treats as suspect all asylum seekers who arrive by boat, and penalizes them for their manner of arrival.’[11] One of the recommendations to fix these and other human rights violations was to: ‘Immediately review the Regional Resettlement Arrangement with Papua New Guinea and end offshore processing and the offshore detention of asylum seekers. All asylum seekers held in the Manus Island detention centre must be transferred back to Australian territory and given full access to asylum procedures in Australia.’[12] Today the Government is turning back the boats as promised with their policy Operation Sovereign Borders. ‘Operation Sovereign Borders is the Abbott governments military-led plan to combat people smugglers and treat the arrival of asylum seeker boats to Australia as a national emergency and a border protection crisis’.[13] In one cartoon from the White Australia policy era it depicts an Aboriginal looking menacing towards a landing party from England, the slogan reads ‘Trying to STOP THE BOATS’ these types of images were common under the Immigration Restriction Act. In the lead up to the 2013 Federal election, one of the slogans the then opposition party used for their campaign was ‘STOP THE BOATS’ in reference to asylum seekers arriving in Australia illegally by boat. At the very top of the Immigration Restriction Act of 1901, it states: ‘To place certain restrictions on Immigration and to provide for the removal from the Commonwealth of prohibited Immigrants. [Assented to 23rd December 1901]’[14] Are these policies influenced by the long dead Immigration Restriction Act, or is it just by coincidence that they appear similar. In conclusion it seems that the Immigration Restriction Act or ‘White Australia’ policy is creeping back into today’s political and national environment, but I hope that it is just coincidence that it looks that way. We did help write the human rights charter, yet it seems that we have been in violation of this charter for some time. Also with ‘NT intervention’ policy let’s hope it does not lead to another stolen generation. As a nation we should have learnt from previous mistakes made, to strive toward a nation that can be a role model for the global community. Let us not regress to our colonial past where we were perceived as a country of racists, for we as a nation live in a post colonial world. Finally to answer the question, ‘Are Colonialism and the â€Å"Immigration Restriction Act of 1901† really dead in Australia?’ Yes I do believe these to be a thing of the past and are dead in Australia. But if the I and the people of Australia cannot be tolerant off other people and their cultures, surely we will regress back to the days of colonialism and the ways of the ‘White Australia’ policy. Bibliography Amnesty International Australia, This Is Breaking People human rights violations at Australia’s asylum seeker processing centre on Manus Island, Papua New Guinea. accessed february 20, 2014. http://www.amnesty.org.au/images/uploads/about/Amnesty_International_Manus_Island_report.pdf.. Amnesty International Australia, The truth about Manus Island: 2013 report. Accessed February 10, 2014. http://www.amnesty.org.au/refugees/comments/33587/. (The truth about Manus Island: 2013 report) Australian Human Rights Commission, The Northern Territory ‘Emergency Response’ intervention – A human rights analysis. Accessed February 22, 2014. http://www.humanrights.gov.au/sites/default/files/content/social_justice/sj_report/sjreport07/pdf/chap3.pdf. Australian Human Rights Commission, Social Justice Report 2007 Chapter 3: The Northern Territory Emergency Response intervention. Accessed February 22, 2014. http://www.humanrights.gov.au/publications/social-justice-report-2007-chapter-3-northern-territory-emergency-response-intervention Museum of Australian Democracy, Immigration Restriction Act 1901 (Cth). Accessed February 19, 2014. http://foundingdocs.gov.au/item-did-16.html. National Communications Branch, Department of Immigration and Border Protection, Canberra, Fact Sheet 8 – Abolition of the White Australia Policy. Accessed February 09, 2014. http://www.immi.gov.au/media/fact-sheets/08abolition.htm. SBS. Factbox: Operation Sovereign Borders. News. http://www.sbs.com.au/news/article/2013/09/19/factbox-operation-sovereign-borders (accessed February 10, 2014). Thompson, Stephen. Migration Heritage Centre, Objects Through Time. Last modified 2011. (Accessed February 12, 2014) http://www.migrationheritage.nsw.gov.au/exhibition/objectsthroughtime/immigration-restriction-act/. Transcript. No. 17 of 1901. No. 17 of 1901. Museum of Australian Democracy at Old Parliament House, 1901. http://foundingdocs.gov.au/resources/transcripts/cth4ii_doc_1901a.pdf. (accessed 10 Feb 2014). Other Skwirk.com. History of racist attitudes and fear, White Australia: Immigration Restriction Act 1901, Australia to 1914, SOSE: History Year 9, NSW | Online Education Home Schooling Skwirk Australia. 2014. http://www.skwirk.com/p-c_s-56_u-127_t-350_c-1213/history-of-racist-attitudes-and-fear/nsw/history-of-racist-attitudes-and-fear/australia-to-1914/white-australia-immigration-restriction-act-1901 (accessed 11 Feb) [1] An Act to place certain restrictions on Immigration and to provide for the removal from the Commonwealth of prohibited Immigrants (No.17 of 1901) [2] Term the Government uses instead of ‘Stop the Boats’ [3] Immigration Restriction Act 1901 (Cth) [4] Fact Sheet 8 – Abolition of the White Australia Policy [5] Fact Sheet 8 – Abolition of the White Australia Policy [6] Social Justice Report 2007 Chapter 3: The Northern Territory Emergency Response intervention [7] Northern Territory ‘Emergency Response’ intervention – A human rights analysis [8] Brough, M., (Minister for Families, Community Services and Indigenous Affairs), National emergency response to protect children in the NT, Media Release, 21 June 2007. [9] This Is Breaking People 2013, 3 12 [10] The truth about Manus Island: 2013 report [11] This Is Breaking People 2013, 3 [12] This Is Breaking People 2013, 4 [13] Factbox: Operation Sovereign Borders. September 19, 2013 [14] Transcript 1901, 1