Geertz and Pacanowsky Cultural Approach to Organization Essay

Geertz and Pacanowsky Cultural Approach to Organization - Essay Example From the film ‘Developing Organizational Culture,’ Tom looks at how the hypothesis can be applied in advancing a hierarchical culture inside a working environment. He says that culture should be comprehensive. Which means, it ought not originate from one prevailing area, yet be a mix that mirrors the whole association. He concurs that culture isn't association, itself, is a culture and doesn't really need to have one. Additionally, he agrees that it is a one of a kind and slippery arrangement of shared importance which ought to be held onto by everybody as it figures out what the association rely on. No association is comprised of one individual. Their complexities and decent varieties direct that they should be good for all. All in all, Cultural Approach to Organization is a splendid hypothesis that, if viably applied in the board, can help in delivering a perfect work environment. Geertz and Pacanowsky did an admirable by doing an incredible examination that can help i n creating a great working environment. Without a doubt, no association has a culture since it is the very association which is a culture. Simultaneously, it should be drawn from the accounts from the individual, corporate and collegial stories. For all associations to exceed expectations, they have to have a lot of culture which characterizes their framework. As found in the article and film, its compelling application can help in advancing viable relational and hierarchical correspondence which can thusly help in making concordance inside the work environment. It shows that the hypothesis can support a great deal if appropriately applied.

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Dr. J. Robert Oppenheimer was conceived amidst New York City to an affluent family in 1904. He had German tolerable on his mom's side whose family had lived in the United States for a couple of ages, while his dad, Julius Oppenheimer, had as of late originate from Germany. His dad was a rancher and a grain vendor in Germany. At the point when he showed up at New York, He began working at Rothfeldt-Stern Company,a material import business that was controlled by two of his uncles. The organization changed their business to custom fitted suits, Julius immediately stirred his way up the positions. When Julius and Ella, Robert's mom, got hitched in 1903, they lived in an exquisite condo in the Upper West Side of New York City. Julius Oppenheimer was a man of workmanship. He met Ella at a New York Exhibition for European specialists. Crafted by well known craftsmen livened their loft. Oppenheimer gave indications of brightness at an opportune time in his life. His inclinations as a youngster were minerals, perusing, composing verse, and working with squares. His enthusiasm for minerals was started when his granddad gave him a pack of named shakes on the family's excursions to Germany. At the point when he became eleven he composed a paper to the New York Mineralogy Society. At the point when he appeared for the talk, different individuals were astounded to discover a kid of eleven while the following most youthful part was in his seventies. While his folks were charmed by his splendor, his mom saw his standoffish characteristics as troubling and urged him to communicate with different young men his age however his character didn't permit him to be a social individual all through his initial years. In 1912, Oppenheimer increased a sibling by the name of Frank. His sibling being eight years more youthful than Oppenheimer, he was not as talented as his brot... ...oard and after a long preliminary had his Security Clearance repudiated. Regardless of the general population out thunder, he proceeded onward to Princeton, and took over as the Director of Advanced Study from Albert Einstein. After he surrendered he proceeded to carry on with a peaceful life on Long Island investing energy cruising and horseback riding with his significant other and kids. He was granted an Enrico Fermi grant in 1963. He kicked the bucket in 1967, of throat malignancy, leaving an extraordinary effect of the world. Generally, Oppenheimer was one of the world most noteworthy impacts and researchers on the planet. His investigations and examination into atomic science created present day power utilization of radioactive components and he additionally helped end the Second World War. While numerous researchers communicated their lament in cooperation in the Manhattan Project, Oppenheimer didn't lament his support since he saw the great and awful in the two sides.

American Neo Conservatism and the World Order Essay

American Neo Conservatism and the World Order - Essay Example American Neo Conservatism and the World Order Sponsored by an American atomic munititions stockpile and war machine, Bush hurled the words opportunity and popular government about, making them sound like modest and unimportant words. Exploiting the way that Americans were occupied with the repercussions of September 11, Bush tended to the world saying, Since America's rise as a politically influential nation about a century back, we have made numerous mistakes, however we have been the best power for good among the countries of the earth. A decrease of American force or impact bodes sick for our nation, our companions, and our standards. Later, the inquiry would be posed to whether the psychological oppressors behind the occasions of September 11 had stirred a dozing giant,1 or whether the goliath had in actuality been standing ready trusting that his signal will come in front of an audience. At the point when George Bush made his declaration to Americans that they would react to the occasions of 9/11 with an outfitted ambush against the Taliban and Al Qaeda in Afghanistan, he didn't impart to his kindred Americans that as of now talk had been going on in the White House of an arrangement to attack Iraq. In November, 2001, . . . Hedge asked his barrier secretary, Donald Rumsfeld, to reconsider the U.S. war plan for Iraq and openly required the arrival of UN arms reviewers to the country.† While a reaction of moving militarily against Afghanistan as the edge of tasks for the fear mongers who had assaulted the United States on September 11, 2001 went unchallenged by most Americans.; neo preservationist plans of pre-emptive resistance strategies against Iraq left numerous Americans scratching their heads in examination of the talk coming out of the White House. It was the thought of a pre-emptive strike against an apparent danger to America that caused many, among them Democrats, who had recently upheld the organization in its reaction to the 9/11 psychological militants in Afghanistan to now bounce off the fleeting trend and put enough separation among themselves and the Bush organization in order to recover point of view of what activities were going on that were obviously being driven the neo moderates who picked up force following the occasions of 9/11. Among the individuals who endeavored to separate themselves from the Bush organization during the discussion of pre-emptive intrusion of Iraq period, were world pioneers, some of whom appeared to be shocked by Bush's pre-emptive talk. Our nearest partners have taken a stand in opposition to an attack of Iraq. Gerhard Schroder, driving a normally obliging Germany however secured an extreme re-appointment battle, has ventured to such an extreme as to mark this chance an 'experience,' starting a dissent from our diplomat (Galston 2002, 1). Bush organization authorities were blamed for overlooking and dismissing the considerations of those world chiefs with whom the United States had close ties (1). The possibility of a drawn out military commitment in the Middle East offered ascend to worries that America was setting out on one more shocking course of military occupation and strife, similarly as they had during the Viet Nam time; inciting remark from previous secretary of state, Henry K issinger (1). Kissinger said something saying, System change as an objective for military intercession challenges the

The representation of the history of American slavery in the themes of literary works of the African American literary tradition essayEssay Writing Service

The portrayal of the historical backdrop of American subjection in the topics of artistic works of the African American abstract convention essayEssay Writing Service The portrayal of the historical backdrop of American subjection in the topics of artistic works of the African American abstract convention exposition The portrayal of the historical backdrop of American bondage in the topics of abstract works of the African American scholarly convention essayIt is certifiably not a mystery that writing mirrors the historical backdrop of national culture, setting accentuation on the different parts of the advancement of human culture. The investigation of the African American scholarly convention has risen and created from the slave story type. The most noteworthy bringing together subjects, tropes, and themes shared by artistic works help to recount to an anecdote about the historical backdrop of American subjugation and the longstanding battle against its inheritances of bigotry and treachery. The two abstract messages that will be talked about in this paper are Frederick Douglass’s Narrative (1845) and James Weldon Johnson’s Autobiography of an Ex-Colored Man (1912). Both artistic works add to the general comprehension of the key reasons of the battle against the heritages of bigot ry and bad form in American culture of the 19-th century through the subjects that mirror the historical backdrop of American slavery.In Frederick Douglass’s Narrative (1845), there are numerous huge topics that mirror the author’s demeanor toward the chronicled occasions focused on the battle against the inheritances of prejudice and treachery. As indicated by artistic pundits, â€Å"Frederick Douglass gave his life and compositions to the reason for dark liberation, emancipation, and equivalent rights†(Chander 101). Through his Narrative, the creator put forth attempts planned for battling against bigotry, brutality, persecution, misuse and subjugation. The complete name of the scholarly work is Narrative of the Life of Frederick Douglass, an American Slave (1845). As a matter of fact, this work is viewed as â€Å"an American outlaw slave classic† abstract work that recounts to an account of a slave from the author’s own perspective. The signific ant topics talked about by Frederick Douglass in his Narrative are the subject of abhorrences of bondage and the topic of the effect of servitude on both the slave and the slaveholder. As indicated by Douglass, â€Å"killing a slave or any minority individual, in Talbot County, Maryland, isn't treated as a wrongdoing either by the courts or the community†(102). The creator gives numerous models that show brutality and abuse of slaveholders toward their slaves. He recounts to the narrative of Thomas Lanman, who executed two slaves, the account of Colonel Lloyds’s mercilessness, and numerous different cases that show abuse and brutality, imbalance and foul play introduced in various structures. The narrative of Sophia Auld shows the effect of bondage of the slave owner.Besides, the creator shows how servitude may have antagonistic effect on the family, pulverizing singular characters. Frederick Douglass himself never knew his dad and his mom. He composes, â€Å"I don't remember of regularly observing my mom by the light of the day† (48). The tunes of the slaves made the creator consider social and racial imbalances and look for the correct approaches to battle against subjection. He composes, â€Å"They inhaled the petition and protest of spirits bubbling over with the bitterest anguish† (57). By and large, the subjects uncovered by Frederic Douglass in his Narrative make it a significant political record, which informs a great deal regarding the imbalances and shameful acts done to slaves, just as speaks to a notice to the American country that â€Å"there will be a general uprising of slaves if subjugation isn't soon abolished† (Chander 104).In James Weldon Johnson’s Autobiography of an Ex-Colored Man (1912), there are additionally numerous significant topics that cause the peruser to understand the need to begin the war against bondage. In this abstract work, the creator investigates in anecdotal structure a few parts of African American character or feeling of self. The significant topics incorporate the subject of dissent, the topic of shading line or race segregation and the topic of African American character. As indicated by Mar Gallego and Marã ­a del Mar Gallego Durn, James Weldon Johnson â€Å"anticipates huge numbers of the focal subjects and themes that worry Harlem savvy people, primarily the reevaluation of the key ideas of race and personality through a modification and refreshing of self-portraying legacies† (45). The artistic work is centered around the built up African American abstract convention, fusing both the slave account propensity and the new abuse of the alleged â€Å"tragic mulatto† pictures reflected in the author’s fundamental character who â€Å"becomes the passing character standard excellence† (Gallego Del Mar Gallego Durn 46).The creator depicts bigotry that makes the lives of African American individuals excruciating.  Johnson tells about his first experience of racial separation, when he was taking the train to Atlanta University. One of the significant topics uncovered by Johnson in his abstract work is the topic of lynching that reflects savagery and abuse in American culture. As a matter of fact, the storyteller had individual encounters that could give him numerous motivations to get white, however in the well known shutting sections he questions of the battle for equity in America. He says, â€Å"I can't stifle the idea that I have picked the lesser part [personal comfort, private happiness], that I have sold my inheritance for a wreck of pottage† (Johnson 93). The subject of lynching shows not just the negative impacts and forceful character of southern racial domination, yet in addition it exhibits the significance of change of the nation’s life and personality. The creator reviews the subject of racial savagery that assists with evaluating the idea of the social world. As indicated by ar tistic critics,Under these conditions lynching’s ubiquity and diligence, its mass intrigue comes from its capacity to determine not where life and demise start and end, yet how the â€Å"realm† of the genuine could be reached out unbounded or worry for the individuals, networks and life universes it expended afterward (Goldsby 170).In general, James Weldon Johnson’s Autobiography of an Ex-Colored Man is worried about the issue of racial passing and the significance of racial character. This abstract work can be viewed as a Modernist fiction as the primary character’s personality, the personality of an ex-hued man, is â€Å"forced upon him through a scene of crowd savagery, or lynching† (West 43).  James Weldon Johnson has added to the general comprehension of the negative impacts of racial disparity and injustice.Conclusion  â â â â â â â â â â Thus, it is important to reason that the topics uncovered by Frederick Douglass in his Nar rative and by James Weldon Johnson’s Autobiography of an Ex-Colored Man recount to an anecdote about the historical backdrop of American bondage and the longstanding battle against its heritages of prejudice and shamefulness in American culture. Both abstract works are life accounts and can be seen as critical noteworthy and political archives that fill in as successful devices to caution the country of the gigantic uprising of slaves planned for annulling bondage. The two life accounts mirror the development of the primary characters from servitude to opportunity. The peruser has a chance to assess the wealth of African American culture and the significant job of African American personality.

Advice for the Incoming Froshies

Advice for the Incoming Froshies Congratulations to the incoming Class of 2018!  Each and every one of you is incredible, and I am so excited to see your happy faces light up the institute once again in the fall! So now youve decided to go to MIT, but you havent paid a dime or picked a class yet. The biggest thing on your plate right now is figuring out when to take the Freshman Essay Evaluation  (FEE) or which pre-orientation program to take. Meanwhile, all your other friends are picking out their schedule for the fall. Some of them already know where they are living, and maybe they even entered a randomized lottery to get placed in their basic required classes that everyone else is getting placed in.  MIT is different from other schools. I want to lay out some basics about what you might want or need to know about your freshmen year.  Ive learned a lot through my own experiences from my first year at MIT, as well as through being an associate advisor my sophomore year.  Here is my advice! And also some descriptions of what will be required of you as a frosh. Do a Freshman Pre-Orientation Program (FPOP) The applications are due June 15th! SIGN UP FOR AN FPOP!! There is an awesome Mark Twain quote on the FPOP  website: Twenty Years from now you will be more disappointed by the things you didnt do than by the ones you did. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Mark Twain (1835-1910) I think Mark Twain and MIT admissions painted the right picture for you FPOPs are a great opportunity for you to do things outside of your comfort zone, and it also is the perfect way for you to start making friends that will last you your four years at MIT and beyond.  The FPOPs range from aerospace to computer science to energy to leadership to exercise to literature to product design and SO MUCH MORE! This year there are twenty-two FPOPs offered in August, and each one gives an amazing introduction to MIT and the beautiful city that surrounds us. My experience includes doing the  Freshman Urban Planning FPOP  as a frosh, and working as a mentor for the Discover Materials Science Engineering FPOP.  Each one introduced me to MIT, Cambridge, Boston, and a new group of awesome friends, and I am so grateful for the opportunities! Preservation of the Frosh   Just a few logistics you are a prefrosh right now, and the 2017s are frosh.  You will not be a frosh and the frosh will not be sophomores until President Reif goes on a giant stage and welcomes you, the Class of 2018, as the freshman class.  President Hockfield never welcomed the Class of 2015 because of bad weather. They are still freshman. This makes sense. The reason why this is how it is and the way it has always be done is because we want to have prefrosh for as long as possible, and there must always be a freshman class, and while sophomores become juniors and juniors become seniors and seniors become crufty, sophomores dont need to be conserved. Only you, the prefrosh or frosh of MIT, must be conserved. Take HASS Classes! Now into some academics Ill briefly explain the HASS system here at MIT. You are required to take eight HASS humanities, arts, and social sciences classes during your time here at MIT.  Of those eight classes, you must take at least one humanities, one arts, and one social sciences class. You must also fulfill a HASS concentration, which involves taking 3-4 classes in a certain subject. For example, I plan on concentrating in writing poetry, which involves me taking a few poetry workshop classes and a reading poetry class. TAKE A HASS CLASS YOUR FIRST SEMESTER! Take at least one HASS class EACH semester!!  I have made this mistake twice and I cannot emphasize it enough.  Taking four (or five) technical classes is extremely difficult, and might drive you insane.  I understand that you might want to take all your required GIRs first semester since you are on Pass/No Record and dont want to have to worry about getting a good grade in these really difficult classes.  But this leads me to my next point Pass/No Record is NOT an excuse to get a C- in every class You will hear A=B=C=P, and it might be true when it comes down to a transcript, but it is not true when it comes to challenging yourself and figuring out what it takes to get an A in a class at MIT.  Aim high and try the hardest you can in your classes the semester will be over more quickly than you know, and you will have to take graded classes based on the information you learned in your Pass/No Record classes.  If you didnt learn any information, then you really are going to be sad in the following semesters. Use Pass/No Record to your advantage by seeing how much you can handle on your plate in addition to your classes.  Join a club sport or class council or rush a fraternity (and steal all their food and then come to East Campus)  and use this time to become close with the people around you.  Watch how you can allocate your time to still do well in your classes while being involved on campus, and make sure that you are not overcommitting to too much. Pass/No Record is not an excuse to not try in your classes, but it is an excuse to go outside your comfort zone to figure out what it takes to live a balanced life at MIT.  People say Social Life, Classes, Sleep pick two. But you can have all three, even at a place with incredibly difficult and time-consuming classes like MIT. Classes to take your Freshman Year So you have to take a HASS class and you have to do your best in your classes but what should those classes be?  Im going to highlight the technical class options you have for your freshman year. All MIT students must complete a total of 17 General Institute Requirements, or GIRs.  It is possible to get out of some of these GIRs through AP credit or through passing an Advanced Standing Exam (ASE), which is basically like taking the final of the class right at the bat of the semester.  At any other time, the grade you get on an ASE would show up on your transcript. As a freshman on Pass/No Record, if you pass the ASE, you get a P! Biology They have extended the offered biology classes from my year to include four different types of introductory classes that fulfill the biology requirement: 7.012, 7.013, 7014, and 7.016.  In the fall, you can take either 7.012 or 7.016. 7.013 and 7.014 are offered in the spring.  All of these classes cover the same fundamental principles of biochemistry, genetics, molecular and cell biology.  However, they each focus on a different one of these. I recommend taking biology in the fall if you feel confident in your chemistry abilities, and in the spring if you do not.  I took biology at the same time as my chemistry class, and it did feel quite overwhelming at times.  Definitely try to split them apart so you can focus on them individually. Calculus Here at MIT, you are required to take single-variable (18.01) and multi-variable (18.02) calculus.  There are different versions of each that you can take, and my advice is to take the slightly harder version of whatever you feel comfortable with, that way you can drop down to a different version of the class if you decide that it is too difficult.  I would also recommend doing whichever track allows you to take 18.03, or differential equations, in the spring, although this might not be feasible for people who want to take 18.014 and 18.024, which are advanced classes that focus on calculus with theory.  18.03 is not a GIR (contrary to popular belief), but many, if not most, majors have it as a requirement.  It also is an extremely difficult and important class, and it is very necessary to have a strong math background before taking it. So if you ASE or AP out of 18.01, congratulations! Take 18.02 or 18.014. If you do not ASE or AP out of 18.01, taking 18.01 is fine, but consider taking 18.01A/18.02A.  This class involves a six-week review of single-variable claculus, and then 18.02 taken at the regular pace, which continues into IAP (Independent Activities Period during January).  Besides, if you start out taking 18.01A, it is perfectly fine and acceptable to drop down to 18.01 if it ends up being too difficult. Challenge yourself! Freshman year is all about discovering what your limits are if 18.01A extends beyond your limits, that is okay! It does not mean you are any less smart than any of your peers or that you dont belong at MIT, it just means that maybe you werent quite ready for that class. Chemistry I am biased because I am course 3 (materials science and engineering), but TAKE 3.091!! Okay now I am going to be honest you will have the option to take one of the following: 5.111, 5.112, or 3.091.  5.111 (pronounced five-eleven-one) is basic chemistry, with slightly more focus on liquid-state materials.  5.112 (pronounced five-eleven-two) is a bit more advanced version of 5.111, and covers additional materials that might help you if you plan on majoring in chemistry or becoming pre-med.  3.091 (pronounced three-oh-nine-one) focuses on solid-state materials, which I think are extremely interesting and I thought that the class was very well taught. You might have heard rumors about 3.091 in the fall having no tests and, as a result, being quite disorganized and/or terrible.  However, this fall, 3.091 is going to be taught in the traditional way with tests (and hopefully no attendance grade) and small quizzes and the really great Professor Cima, and it will be an awesome class! Take it! Learn about phase diagrams and chocolate and materials! Yay materials! Yay polymers! Physics The other day, I got a facebook message from the lovely Kimia Z. 18 asking about first semester physics, which is mechanics. She told me that her school has a very weak physics program, and she wanted to know if I would recommend she try to take classes over the summer. I told her that if you dont feel confident in your physics skills, I highly recommend taking 8.01L in the fall.  The class has the same content as 8.01, but it is taught over a longer period of time and in lecture style instead of in TEAL sessions, where you learn about a concept and immediately do a problem about it on whiteboards around the room in groups.  8.01L consists of the fall semester and IAP, and it was completely worth taking 8.01L for me and I felt a lot more confident about my physics skills moving at the slower pace than I would have in 8.01 TEAL. If you do feel uncomfortable with your physics background and want to take 8.01 anyway, that is perfectly fine, and again, you can always switch it to 8.01L later. And if you want to review concepts before classes start, MIT opencourseware is an amazing resource! The other requirement is 8.02, which is about electrical and magnetic properties in physics.  This is also taught in TEAL style, however, if you feel super confident in your physics abilities, you can choose to take 8.012 and 8.022 in the fall and spring respectively, which are advanced versions of each of the classes, taught in lecture style. Many of my friends on Tetazoo did this track, and they really enjoyed the classes and are now planning on double majoring in physics! Will L. 16 described the difference 8.012 and 8.022 are good for showing what course 8 is like at MIT. 8.01 and 8.02 are more engineering classes. Communication Requirement I mentioned the HASS requirement earlier, but in addition to taking 8 HASS classes, two of those classes must be communication intensive classes. Depending on if you get out of taking the FEE or if you pass it, you will either have to take a CI-H (communication intensive humanities class) or a CI-HW (communication intensive humanities writing class) your freshman year.  These classes involve writing a couple essays, writing a revision for one of those essays, and writing a big paper at the end. I dont like papers.  I took Bioethics (24.06) my freshman spring and it was okay. Im doing anything I can to procrastinate taking another CI-H. Dont procrastinate!! The HASS classes are all listed on the internet with the other classes. Thats all great but when do I actually pick out my classes? In the fall! When you get here for your pre-orientation program, you are going to check into your temporary room in your temporary dorm, and you are going to spend many hours of many days at your FPOP having fun. After the final day of your FPOP, you will check in with your orientation leader.   This is the week that you will meet with your advisor and your associate advisor(s), and they will help you sort out your final schedule. It is nice to have some sort of plan on what you want to take, but that is not at all necessary.  You will very likely get the classes you want to take.  This leads me to my next point Meet your Advising Team! Free food! Woo advising teams! I was an associate advisor this past year, and it was my duty, along with a faculty advisor, to help my advisees choose a path that was right for them. My advice to you is to keep in touch with your advising team we are a great resource for you to reach out to in case of trouble with choosing classes or doing well in classes or life or anything else at all!  Come ask us questions! We will send you care packages and take you to get ice cream and more! As far as choosing freshman advising, there are many options. You can choose advising that involves credit such as a learning community, or advising that offers no credit like traditional advising.  Freshman advising seminars also grant credit, and are a very different option from these two. My freshman year, I chose Terrascope, and it was a really interesting program, but I could not dedicate the time I wanted to it, although I wish I could have.  If you choose to do a freshman advising seminar that offers additional credit, make sure to consider that it is another class, and it will involve work outside of your core required classes.  If you are tremendously interested in that subject (like with humanities and the Concourse program, or saving the world and the Terrascope program), then go ahead! And, although it is not recommended because the program consists of your freshman advising group, you can drop the class if you absolutely need to. There is also residence based advising in some dorms, and in the past, if you were in a RBA dorm you were stuck there for a full year, even if you decided that it was not the place for you. However, now RBA dorms are changing their policies and only freshmen assigned to Maseeh, Next House, and participating cultural houses will be able to move dorms during orientation  if they are not happy there. However, if you choose McCormick Hall, you will not have the option of moving during orientation or during your freshman year, since it is the location of your advisor community. I am a big fan of traditional advising, which just makes it so that your advisor is there for you when you need them, if you need them, and same with your associate advisor.  But all in all, your biggest source of information will be the upperclassmen on campus that you live with, work with, eat with, and are friends with. So come talk to us, we dont bite! And feel free to ask me questions anytime comment below or come visit me during rush in East Campus! Ill dye your head a strange color! Or all the colors! Take Physical Education Classes EARLY. TAKE THE SWIM TEST! You just got here. Its day one of orientation, and youre signed up for the 12pm swim test.  But youre sleepy. You rather sleep. Sleep sleep sleep. GET UP! Go take the swim test! There are some people who wait until right before they graduate to take the swim test dont do that! If you fail, you dont get to graduate from MIT. You have to wait another semester. Dont do that!! If you dont feel comfortable swimming, that is okay! Take the swim physical education class right away! Dont save these required things for your senior year, because you only need to miss a few PE classes to fail one. Also, people will tell you that you need to complete the physical education requirement by your sophomore year. This is not true. Sometimes, you just cannot fit a PE class into your schedule that is completely understandable. But try to spread out taking the classes, or at least a couple of the four required PE classes, during your freshman year while you have the time to do so.  And take the swim test! Do it!! Take advantage of REX! IT IS CPW ALL OVER AGAIN BUT EVEN BETTER! Orientation AKA Rush is another time when we, the denizens of East Campus, as well as all other living groups around campus do everything in our/their power to convince you that our/their dorm is the best dorm and that you should live here/there!  I will post a lot of pictures in the fall of the awesome activities (including roller coaster building!) happening around East Campus, but do your best to visit every single dorm on campus, steal all the free food, and have a great time! Make new friends, build awesome things, eat great food, and have the time of your life before classes start and consume us all. I hope my little tidbits of advice are helpful!  Feel free to post any additional questions below :)

Restoration of Masculinity in Fight Club - Literature Essay Samples

First rule of Fight Club: You do not talk about Fight Club. Second rule of Fight Club: You do not talk about Fight Club (Fight Club, 1999). David Fincher has directed many brilliant movies in his career, including Seven, Fight Club, and most recently, Zodiac. His movies are known as psychological thrillers with multi-layers and many important themes; Fight Club is no exception. The 1999 movie is narrated by a man (played by Edward Norton) whose real name is never revealed, so we will refer to him as Jack in this essay. Jack is not the average masculine male figure. Masculinity can be defined as the trait of behaving in ways characterized of men, such as aggression and leadership (Santrock Mitterer 2001). What we view as masculine is the aggregate of a complex web of characteristics, behaviours and traits that we have agreed to read as masculine (Tripp 186). Jack, on the other hand, displays typical feminine characteristics, such as sensitivity and his need for material possessions. In todays society, American men are facing a crisis since the feminist movement and the influx of women into the work force have left their traditional code of masculinity in a state of collapse. Henry Giroux states that the crisis of capitalism is reduced to the crisis of masculinity, and the nature of the crisis lies less in the economic, political, and social conditions of capitalism itself than in the rise of a culture of consumption in which men are allegedly domesticated, rendered passive, soft and emasculated (1). This movie is appealing to most men as it attempts to reinstate the male characters masculinity through the narration and glorification of violence. In addition, Jacks fascination with Tyler Durden as his alter ego displays his desire to reassume a more primal masculinity (Tripp 183); Jack, in turn, can represent the males in todays post-modern society who feel entrapped in the feminized culture and are looking for a way to re-establish their masculinity. The male v iewers may also use the film as a form of escapism and/or a wish-fulfillment.Violence is necessary in Fight Club as it reveals the instability of gender identity; in attempting to recover his manhood through Fight Club, Jack is able to take up both masculine and feminine positions (Ta 265). Violent behaviour has always been associated with masculinity and the male gender, because of the aggressive trait that a stereotypical male should possess. This movie does not hold back on the amount of violence it uses, as violence becomes the basis for the major plotline. However, is the glorification of violence enough to restore a male viewers masculinity? Many movies contain violent scenes, but is that enough to appeal to a male viewer? Fight Club is more than just a group of guys meeting in a basement to take out their frustrations on each other. The club that Tyler and Jack create gives the men a place to reclaim their lost manhood by stripping down and pummeling each other pulpy (Ta 265) . The deification of violence and beating up on ones body is consistently referenced throughout the movie. Of the fights, Jack says nothing was solved but that we all felt saved (Fight Club, 1999). This demonstrates the mens desperation to regain their masculinity through these fight sessions. There is another particular scene that displays this point of emasculation and self-inflicting pain through intentional fighting. Jack and Tyler are on the bus, and Jack looks up at a Calvin Klein advertisement with a well-built guy wearing nothing but underwear, and Jack asks Tyler Is that what a man looks like? in which Tyler responds Self-improvement is masturbation. Now self destruction (Fight Club, 1999). Lynn Ta suggests that Tyler implies that the only real form of sex is to destroy oneself, essentially what Jack and Tyler engage in every time they fight (272-273). In addition, Tyler suggests that conforming to societys definition of a manly man is masturbatory, and that real men do not look beautiful, but rather has scars and battle wounds, which they both have. It is interesting to see a different perspective on the reason why the club was formed in this film. Daniel Tripp theorized that male protagonists in movies such as Fight Club wake up or come to a realization that the life they are leading is automatic to the post-modern society, and the males masculinity has become increasingly commodified in Americas transition toward a post-industrial economy (181). Basically, the constant strain that individuals feel in todays post-modern society pushes them into a conformed state, in which they think they want the material possessions and are, in extension, manipulated by external forces (Tripp 181). Therefore, the creation of fight club is not only a place for males to reinstate their masculinity, but rather it is a fight against the post-industrial economy. This club erupts into a much bigger fight, when Tyler creates an army, and ultimately, Project Mayhem. We see that Jack succumbs himself to the materialized world right from the beginning, as he is flipping through an IKEA magazine in his modernized apartment. The differences between Tyler and Jack are evident throughout the film, as we see that they are complete polar opposites, in many different ways: If Jack is a model of packaged conformity and yuppie depthlessness, Tyler is a no-holds-barred charismatic rebel (Giroux). Yet, later on in the movie, he realizes his alienation to this post-modern economy and says: I had become a slave to the IKEA nesting instinct. I would flip through catalogs and wonder, what kind of dining set defines me as a person? (Fight Club, 1999). Tylers take on the capitalist society is evident in the film, and the scene that showcases this best is during one of the fight club meetings, when he gives a motivational speech to the men, saying:Man, I see in Fight Club the strongest and smartest men whove ever lived. I see all this potential and I see it squandered. God damn it, an entire generation pumping gas, waiting tables, slaves of white collarsWorkings jobs we hate so we can buy shit we dont need. Were the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our great war is a spiritual war. Our great depression is our lives. Weve all been raised on television to believe that one day wed all be millionaires and movie gods and rock stars but we wont and were slowly learning that fact. And were very, very pissed off. (Fight Club, 1999)Tyler is the individual who does not care about the material possessions or commercialized life. He lives in a run-down apartment, wears anything but nice clothing and quits jobs when he does not like them anymore. This speech displays his frustration with the men in todays society; these men have not had to go through a Great War or Great Depression to show their worth and power. Tyler also makes a great comment in saying to the other men: Youre not your job. You re not how much money you have in the bank. Youre not the car you drive. Youre not the contents of your wallet. You are not your fucking khakis (Fight Club 1999). Many individuals today are trying to live the American Dream, and get so caught up in it that they lose sight of the rest of the world. What you wear, where you live or what you drive does not define you as a person, nor does it reflect your personality. The twist at the end of the film is unexpected and the viewers may only realize that Jack and Tyler are the same person until this point. When this discovery is made, Tyler says to Jack: All the ways you wish you could be, thats me. I look like you want to look, I fuck like you want to fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not (Fight Club). This is the point when it becomes evident that Jack creates Tyler due to his repressed desires and to fill the masculine void. Jacks disorder is known as Dissociative Identity Disorder, which is the presence of two more distinct personalities or selves, like the fictional Dr. Jekyll and Mr. Hyde of Robert Louis Stevensons novel, and is the most dramatic and least common of the dissociative disorders. Each personality has its own memories, behaviours, and relationships; one personality dominates the individual at one point and another personality will take over at another time. The shift from one personality to the other usually occurs under distress (Santrock Mitterer 2001). This domination of personalities is evident in Fight Club, as Tyler is the aggressive, dominant male of the two, and he becomes the leader of the fight club as well as the creator of Project Mayhem. Jack loses control of his alter ego and it is only after he kills his alter ego, Tyler Durden, that Jack can finally reclaim control of his life and transcend his own self-alienation (Tripp 184). However, by this point, Jack has accepted his role in society, and learns a lot from his alter ego and his own desires in life.Sigmund Freud is known for his psychodynamic approach to many issues and problems in society. Psychodynamic refers to internal motives, conflicts, unconscious forces and other dynamics of mental life (Santrock Mitterer 2001). One of his theories suggests that men develop masculine anxiety and a fear of castration from birth. According to Freud, young boys realize that the equipment they possess is exclusive to their sex, and therefore, fear that they will lose it, and become a girl (Santrock Mitterer 2001). This fear is evident throughout the entire film of Fight Club, with many explicit references to castration. One concrete example is the male character, Bob, who lost his testicles due to cancer. Jack meets Bob when he starts attending a testicular cancer support group in an attempt to cure his insomnia. Ta suggests that Jack finds comfort among these men who have also experienced a sense of masculine loss. In addition, he is able to alleviate his fear o f castration by surrounding himself with men who have physically undergone castration. Yet, the emasculation of the men in the group is a physiological one while Jacks is psychological (270). There are also many subtle references that should be mentioned. Tyler tries to sympathize with Jack after his place burns down, and states: You know man it could be worse. A woman could cut off your penis while youre sleeping and toss it out the window of a moving car (Fight Club 1999). Jack agrees with Tyler, and it shows that losing his masculinity is the worst thing that Jack could experience, aside from losing all of his material possessions. Another important example is the end of the movie, when Jack (as Tyler) sets himself up to be castrated if he attempts to stop the bombings. Ta suggests that Jack equates masculinity with the hyper-masculine world of Tyler, and the choice to escape this world is the choice of castration (270). The consistent reference to castration reinforces the theor y that this film is meant to define masculinity and the characteristics of a male in todays society. Freud states that individuals who suffer from anxiety disorders are experiencing a raging conflict among subparts of personality the id, ego and superego. The id consists of instincts and works according to the pleasure principle. The id is unconscious and it has no contact with reality. The ego, on the other hand, deals with the demands of reality. The ego is called the executive branch of personality because it makes decisions based on rationality. Yet, the id and ego have no morality and they do not consider whether something is right or wrong. The superego, on the opposite side, is the moral branch of personality. The superego is often referred to as our conscience (Santrock Mitterer 2001). This theory of id, ego and superego is also interesting to apply to Fight Club, as Tyler becomes Jacks id; his pleasure principle. Tyler is not concerned with morals or societal standards, a nd only acts in the way that he wants to act. On the opposite end of the spectrum, Jack can be considered the superego, as he has a strict right versus wrong mentality, with no grey area. There is no ego present in this movie, as Jack and Tyler are two extremes. The absence of an ego means that there is no mediation between the id and superego, which results in conflict. The ego is considered the reality principle, and if an ego existed in this movie, then moralistic desires would be allowed. However, the ego may have taken over Jack at the end of the movie, in which he decides that the id needs to be controlled, resulting in the termination of Tyler. However, the absence of the ego makes this movie so interesting, and develops the clash between the id and the superego: Tyler and Jack.Like many popular movies, novels and TV shows, they act as a form of escapism to the viewers/readers, and can also act as a form of wish fulfillment as well. Fight Club can be used as a form of escapi sm to many male viewers as it gives the males a chance to put their own problems aside and escape into the problems of Jack and Tyler Durden. In reference to the form of wish fulfillment, just as Tyler is everything that Jack would like to be, the movie and the representation of men in the film is what many men may wish to become as well. Tyler does represent a great image of a perfect male: handsome in that manly way, aggressive, carefree, dominant, self-reliant and independent, among other things. This film is about young men having problems defining their manhood; Fight Club is able to fulfill many wishes and desires that male viewers may possess, such as the strength to be an individual, to be aggressive or have leadership skills, and to be comfortable with the person they are, as opposed to what society expects them to be.Tripp makes a good point in stating that if we accept masculinity as a process of negotiation, then it stands to reason that the more we are bombarded by gend ered images in our media saturated culture, the more we have to rethink, revise, and/or reorganize the sets of gendered generalizations that we perceive as masculine (186). Fight Club attempts to help in this process, by allowing the male viewers to connect with the characters of the film through the narrative, the formation of a club and the glorification of violence, and in extension, helps the viewers to reinstate their perception of masculinity. Ta suggests Fight Club is the story of an individual who must torture himself into manhood (267). The group is a place where the men can be men, without having to conform to societys growing feminized workplace. In addition, she says that the tension between what is masculine and feminine in the film is necessary as the violence allows disempowered white men to take up the position of victim while simultaneously asserting their virility (273). Fight Club is an excellent movie that allows spectators to escape into the world of Jack and Ty ler Durden, using the narrative and violence to restore the male viewers masculinity through the characters. The club is useful to the men in the film for many different purposes: the restoration of their masculinity, a fight against the post-industrial economy as well as a place for men to escape from the feminized workplace. In discussing the purpose of Fight Club, Jack ultimately argues: The fight club is not about fighting; it is a manifestation of a desire to strip away everything and rediscover yourself (Giroux).Works CitedFight Club. Dir. David Fincher. FOX, 1999.Giroux, Henry A. Private Satisfactions and Public Disorders: Fight Club, Patriarchy, and the Politics of Masculine Violence. July 3, 2000. 25 March 2007.(http://www.gseis.ucla.edu/courses/ed253a/FightClub) Santrock, John and Mitterer, John. Psychology First Canadian Edition. Toronto: McGraw-Hill, 2001.Ta, Lynn M. Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism. The Journal of American Cultu re 29 (2006): 265-277.Tripp, Daniel. Wake Up!: Narratives of Masculine Epiphany in Millennial Cinema. Quarterly Review of Film and Video 22 (2005): 181-188.

Becoming A Future Oral Surgeon Essay - 1572 Words

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