Organisational Deveplopment and Human Resource Development Essay

Organisational Deveplopment and Human Resource Development - Essay Example r from outside the organization should be weighed before such a decision is made and if the organization is stable enough, then there is really no need for not picking a leader from within its ranks. In this paper, we shall analyze the advantages of getting the leader of an organization from outside the organization, and those of getting one from within the ranks of the organization. There are many reasons why the new leader of the organization can be brought from outside the organization. One of this is the fact that this will be a new face for the organization especially, during the time when the organization is going through some tough times (Bohn and Grafton, 2002). Not only will this newcomer inspire confidence among the employees of the organization probably more than the previous leadership, but this new leader will also bring about a sense of renewal within the organization. This sense of renewal will ensure that all those who work within the organization are inspired to work even harder so that its goals can be achieved. A leader from outside the organization will most likely bring new ideas with him and these ideas will be found to be useful within it. These new ideas might be used to compete better with other organizations with similar objectives and in fact, they may even make it do better than the others may. The experience, which this leader will bring with him from working in other organizations, will be invaluable especially when it comes to predicting how the competition is going to respond to a move from the organization (Avolio, Zhu, Koh and Bhatia, 2004). Not only will the organization be able to preempt any action from its competitors that may hurt it in the market, it will also be able to counter these actions with even better ones and this will ensure its continued dominance in the market. The external leader will have to work very hard to prove that he is the right person for the job and this will ensure that there is more productivity,

Andy Warhol and His Screen Tests Essay Example | Topics and Well Written Essays - 2000 words

Andy Warhol and His Screen Tests - Essay Example The essay "Andy Warhol and His Screen Tests" investigates Screen Tests directed by Andy Warhol. Warhol's screen tests capture a variety of items created through different media including painting, hand drawing, printmaking, silk screening, films, photographs and sculpture. Part of his screen tests was computer-generated especially towards his death, following the integration of computer into the American film and media production. Regardless, Warhol’s works have been the focus of several retrospective exhibitions, publications, documentaries and feature films. This paper examines the connection between Andy Warhol’s screenshots and the pop culture between 1960s and 1980s. The important connections between Warhol’s screenshots and the 1960s, 1970s and 1980s pop life experiences have led to their resurfacing in the current century, perhaps more than they appeared in the second-half of the 20th century when they were created. In the 1970, for instance, the artist pu lled out 472 shots that he had captured between 1964 and 1966 alongside his footages of various art works from public galleries. However, between 1995 and 2007, different galleries have had their hands on these important artistic items and released them to the public for viewing for the first time in many decades as a celebration of the massive contributions Warhol made in the American visual art industry. Part of the Warhol’s earliest screenshots from films such as Kiss, Eat, and Sleep and Empire captured in the early 1960s.

Line Between Tough Love and Child Abuse Essay Example for Free

Line Between Tough Love and Child Abuse Essay Poets and authors have tried to define love for centuries, whereas scientists have only recently started. Many of us know intuitively that love is a major purpose for living; (Blueprint, 2013) that connection is inherent in all that we do, and without love, we cannot survive as a species. But what is love, and how do we know when were in it? First , lets start off with what love isnt. If someone asks you to do or say something that isnt in your nature, that isnt true love. Smith, 2002) Although love does involve compromises between partners, someone who is in love with you will never ask you to change who you are in order to be loved. True Love is caring. The ancient Greeks had many different names for different forms of love: passion, virtuous, affection for the family, desire, and general affection. But no matter how love is defined, they all hold a common trait: caring. (Blueprint, 2013) True Love is attractive. Attraction and chemistry form the bond that allows people to mate. Without this romantic desire for another individual, a relationship is nothing more than lust or infatuation. True Love is attached. Like the mother-child bond, attachment comes after the initial attraction. Attachment is the long term love that appears anywhere from one to three years into a romantic relationship (sometimes sooner and very rarely after), and youll know youve found it when you can honestly say, (Smith, 2002) Ive seen the worst and the best you have to offer, and I still love you, while your partner feels the same way. True Love is committed. When it comes to true love, commitment is more than just monogamy. It’s the knowledge that your partner cares for you and has your back, no matter what the circumstances. People who are strongly committed to one another will, when faced with seemingly negative information about their partner, see only the positive. For example, a friend comments that your partner doesnt say a lot. Ah yes, hes the strong, silent type, you reply. People with less commitment to their partner would instead say something like, Yeah, I can never have conversation with him. It’s annoying. True Love is Intimate. Intimacy is a crucial component of all relationships, regardless of their nature. In order to know another, you need to share parts of yourself. This self-revealing behavior, when reciprocated, (Teicher, 2000) forms an emotional bond. Over time this bond strengthens and even evolves, so that two people merge closer and closer together. Intimacy by itself if is a great friendship, but compiled with the other things in this list, it forms an equation for true love. Within the minimum standards set by CAPTA, each State is responsible for providing its own definitions of child abuse and neglect. Most States recognize four major types of maltreatment: physical abuse, neglect, sexual abuse, and emotional abuse. Although any of the forms of child maltreatment may be found separately, (Blueprint, 2013) they often occur in combination. In many States, abandonment and parental substance abuse are also defined as forms of child abuse or neglect. The examples provided below are for general informational purposes only. Not all States definitions will include all of the examples listed below, and individual States definitions may cover additional situations not mentioned here. Physical abuse is no accidental physical injury (ranging from minor bruises to severe fractures or death) as a result of punching, beating, kicking, biting, shaking, throwing, stabbing, choking, hitting (with a hand, stick, strap, or other object), burning, or otherwise harming a child, that is inflicted by a parent, caregiver, or other person who has responsibility for the child. Perry, 2002) Such injury is considered abuse regardless of whether the caregiver intended to hurt the child. Physical discipline, such as spanking or paddling, is not considered abuse as long as it is reasonable and causes no bodily injury to the child. Neglect is the failure of a parent, guardian, or other caregiver to provide for a childs basic needs. (Perry, 2002) Neglect may be physical (failure to provide necessary food or shelter, or lack of appropriate supervision), medical (e. g. failure to provide necessary medical or mental health treatment), educational (e. g. , failure to educate a child or attend to special education needs), or emotional (e. g. , inattention to a childs emotional needs, failure to provide psychological care, or permitting the child to use alcohol or other drugs). These situations do not always mean a child is neglected. Sometimes cultural values, the standards of care in the community, and poverty may be contributing factors, indicating the family is in need of information or assistance. Teicher, 2000) When a family fails to use information and resources, and the childs health or safety is at risk, then child welfare intervention may be required. In addition, many States provide an exception to the defi nition of neglect for parents who choose not to seek medical care for their children due to religious beliefs that may prohibit medical intervention. Sexual abuse includes activities by a parent or caregiver such as fondling a childs genitals, penetration, incest, rape, sodomy, indecent exposure, and exploitation through prostitution or the production of pornographic materials. Sexual abuse is defined by CAPTA as the employment, use, persuasion, inducement, enticement, or coercion of any child to engage in, or assist any other person to engage in, any sexually explicit conduct or simulation of such conduct for the purpose of producing a visual depiction of such conduct; or the rape, and in cases of caretaker or inter-familial relationships, statutory rape, molestation, prostitution, or other form of sexual exploitation of children, or incest with children. Emotional abuse (or psychological abuse) is a pattern of behavior that impairs a childs emotional development or sense of self-worth. This may include constant criticism, threats, or rejection, as well as withholding love, support, or guidance. Emotional abuse is often difficult to prove and, therefore, (Teicher, 2000) child protective services may not be able to intervene without evidence of harm or mental injury to the child. Emotional abuse is almost always present when other forms are identified. Abandonment is now defined in many States as a form of neglect. (Perry, 2002) In general, a child is considered to be abandoned when the parents identity or whereabouts are unknown, the child has been left alone in circumstances where the child suffers serious harm, or the parent has failed to maintain contact with the child or provide reasonable support for a specified period of time. Tough love simply means that if your child decides to do anything that can harm him/her or others that you have to love your child enough to take a stand against that behavior. If this means that you have to report your child to the authorities, whether the law or teachers, then you need to do it. It also means that if you find that you need help with your child for whatever reason that you should ask for it. There is nothing shameful about having a child who is out of control. It happens to the best of parents. What would be shameful is not to do anything. The fastest and best way to implement tough love techniques with your child is to simply start making them fully responsible for their own actions. (Blueprint, 2013) Don’t pay or legal representation, don’t bail them out with teachers, and don’t interfere in the natural consequences that may happen. Sometimes, you may even need to go further in the case of a child putting others in danger via drinking or drugging and driving. Take the car, take the money, take the phone, remove all privileges, and if that doesn’t work, you may have to call the police on your child who is pract icing illegal behaviors. Don’t give multiple warnings and threats. (Teicher, 2000) Teenagers just stop believing you, if you don’t back up your words with actions. Giving natural consequences a push in the right direction can go far in helping your child, while you’re still there for emotional support as long as they’re doing the right thing, can help a child straighten their life out before they are on their own. Child abuse is more than bruises and broken bones. While physical abuse might be the most visible, other types of abuse, such as emotional abuse and neglect, also leave deep, lasting scars. The earlier abused children get help, the greater chance they have to heal and break the cycle—rather than perpetuate it. By learning about common signs of abuse and what you can do to intervene, you can make a huge difference in a child’s life. While physical abuse is shocking due to the scars it leaves, not all child abuse is as obvious. Ignoring children’s needs, putting them in unsupervised, dangerous situations, or making a child feel worthless or stupid are also child abuse. Regardless of the type of child abuse, the result is serious emotional harm. An estimated 905,000 children were victims of child abuse or neglect in 2006 (U. S. Department of Health and Human Services, 2008). While physical injuries may or may not be immediately visible, abuse and neglect can have consequences for children, families, and society that last lifetimes, if not generations. The impact of child abuse and neglect is often discussed in terms of physical, psychological, behavioral, and societal consequences. In reality, however, it is impossible to separate them completely. Physical consequences, such as damage to a childs growing brain, can have psychological implications such as cognitive delays or emotional difficulties. Psychological problems often manifest as high-risk behaviors. Depression and anxiety, for example, may make a person more likely to smoke, abuse alcohol or illicit drugs, or overeat. High-risk behaviors, in turn, can lead to long-term physical health problems such as sexually transmitted diseases, cancer, and obesity. This factsheet provides an overview of some of the most common physical, psychological, behavioral, and societal consequences of child abuse and neglect, while acknowledging that much crossover among categories exists. The immediate emotional effects of abuse and neglect—isolation, fear, and an inability to trust—can translate into lifelong consequences including low self-esteem, depression, and relationship difficulties. (Teicher, 2000) Researchers have identified links between child abuse and neglect and the following: In one long-term study, as many as 80 percent of young adults who had been abused met the diagnostic criteria for at least one psychiatric disorder at age 21. These young adults exhibited many problems, including depression, anxiety, eating disorders, and suicide attempts (Silverman, Reinherz, amp; Giaconia, 1996). Other psychological and emotional conditions associated with abuse and neglect include panic disorder, dissociative disorders, attention-deficit/hyperactivity disorder, post-traumatic stress disorder, and reactive attachment disorder (Teicher, 2000). The National Survey of Child and Adolescent Well-Being recently found children placed in out-of-home care due to abuse or neglect tended to score lower than the general population on measures of cognitive capacity, language development, and academic achievement (2003). Children who are abused and neglected by caretakers often do not form secure attachments to them. These early attachment difficulties can lead to later difficulties in relationships with other adults as well as with peers (Morrison, Frank, Holland, amp; Kates, 1999). Not all victims of child abuse and neglect will experience behavioral consequences; however, child abuse and neglect appear to make the following more likely: Studies have found abused and neglected children to be at least 25 percent more likely to experience problems such as delinquency, teen pregnancy, low academic achievement, drug use, and mental health problems (Kelley et al. , 1997). A National Institute of Justice study indicated being abused or neglected as a child increased the likelihood of arrest as a juvenile by 59 percent. Abuse and neglect increased the likelihood of adult criminal behavior by 28 percent and violent crime by 30 percent (Widom amp; Maxfield, 2001). Research consistently reflects an increased likelihood that abused and neglected children will smoke cigarettes, abuse alcohol, or take illicit drugs. According to the National Institute on Drug Abuse, as many as two-thirds of people in drug treatment programs reported being abused as children (2000).

Feminist Research Into Soap Opera Audiences

Feminist Research Into Soap Opera Audiences Feminist Research into the field of television has made a vital contribution by studying the genre of soap opera and its audiences. The understanding of the relationship that the genre share with its audiences is important in gaining knowledge about why this genre has remained such a popular form, despite the continuous criticism that has been receiving from the television critics and journalists. Feminist researchers such as Ien Ang, Dorothy Hobson, and Lesley Henderson etc focused their research of soap operas in exploring how soap opera audiences use this genre as a medium to engage into social debates and interpret the drama in their own ways. Rather than focusing on the text alone, they have elaborated on how audiences bring their perspectives in the stories. These authors have tried to put themselves in this scenario and explored the study as fans rather than just being critics. As Brunsdon(1995, p.50, cited in Henderson, 2007, p.8) notes, On the one hand, there is a perceived incompatibility between feminism and soap opera, but, on the other, it is arguably feminist interest that has transformed soap opera into a very fashionable field for academic inquiry. The aim of this essay is to out light on and the work of this feminists by analysing and exploring the key concepts such as active audiences, and breaking away from the allegory that soap opera audiences are passive watchers. The aim is also to understand why women have always been the dominant members of the soap operas. Do they enjoy this genre merely for entertainment? If no, then what understanding do they bring to soap operas? Another aspect that this essay touches upon is to critically understand whether soap opera writers lack creative ability, as people especially non soap opera viewers, often think that the storylines of such genre are dragged and over dramatized. Lastly, it touches on the social relevance that soap operas have, apart from just being considered as a source of melodrama and entertainment. Talking about television is part of the everyday work culture of both men and women (p 175). Discussing storylines in the form of gossip or debate, criticizing or applauding, sympathizing with the characters and relating to incidents that unfold in reel life with the real lives, are some of the processes through which soap opera audiences find this genre so entertaining. Breaking the myth of passive viewer One of the most crucial contributions made to the media studies by feminist researchers is the understanding of the relationship between soap operas and its audiences. The answer to the question why the soap opera is so popular lies in understanding the relationship it shares with its audiences. The effects that soap operas can possibly have on its viewers form the basis of their success or failure on television. Feminist researchers have time and again exhibited the importance of understanding the audience/text relationships. But, often soap opera audiences are stereotyped as passive viewers. As the term suggests, passive viewers are the ones who just blindly accept the information that is provided to them. There is a misconception that the members of this category do not use their own knowledge and understanding while watching the soap operas, as they are a product of fiction and fantasy. According to Hobson (2003, p.166), journalists and critic s often stereotype the soap opera audiences as easily duped mass, who fall prey to the melodramatic storylines. This assumption is stated by Seiter et al too (1997, p. 162). They add that critics feel that viewers usually turn off their brain cells while watching a programme, hence losing any critical ability to judge the merits and demerits of a soap opera. They do not understand the difference between what is real and what is fictitious. In a recent episode of BBCs Eastenders, the show tackled with the issue of cot death and baby swap. The episode was subject of a lot of debate and criticism. Viewers termed this particular storyline as awful tragic and sensationalism, especially since it was aired during the New Years time. Joyce Epstein, director of the Foundation For The Study Of Infant Deaths (FSID) was quoted in Mailonline saying, I just hope that people realise that this is fiction, this is not real life. I would hope people can view it as something that happens on screen and is not real life. Apparently, the show received around 5000 complaints about how the subject was so sensitive and the events were exaggerated. This means that the viewers were in fact critical of the subject and brought their own understanding to the topic. Another analysis of this could be that maybe viewers always have had opinions about soaps, its just that now their opinions are more visible because more and more people are using web tools and the whole issue is sometimes blown out of proportion to gain the attention. A viewers interpretation of the text could be in any form a moral argument, a social debate, a group discussion or a part of everyday gossip. Through all these means, it can be said that audiences are bringing their own experiences and opinions to the show and also add their perspectives to the stories. Soap operas depend on the audience following the stories and need their audience to be loyal and watch regularly (Hobson, 2003, p.161). This exemplifies that soap operas are constantly thriving on the support of its audience, and if the audiences discontinue their support, then soaps cannot run for a long time. According to Gillespie (1996, p.13), spending time on watching soap operas is a productive way to understand how viewers consume the text, images and narratives. This thought is also resonated by Slade, who supports the concept of active audience and asserts that viewers do not just accept a producers perspective of a particular story, add their own meaning to it through their reactions. This statement in a way contradicts the famous Hypodermic syringe model which subscribes that audiences are under the spell of media producers and that the audiences act and think according to what the media is trying to tell us, rather than putting your understanding to the media texts. Philip J. Hanes(2000) suggests that rather than understanding the audience/text relationships through effects model terming audience as passive viewers, it is important to focus on a new approach through Uses and Gratification model , as this model focuses on how audiences use and interpret media texts rather than focusing on what effects media has on the audiences. According to the model, audiences have specific needs and actively turn to the media to consume various texts to satisfy those needs (Hanes). Originally targeted towards women above the age of thirty, are shows like Desperate Housewives and Sex And The City. These are now widely popular amongst women in their twenties. Male viewers also e njoy these shows because of the glamour quotient; these viewers would otherwise avoid soap operas. Audiences are not blank sheets of paper on which media messages can be written; members of an audience will have prior attitudes and beliefs which will determine how effective media messages are (Abercrombie 1996, 140, in Hanes April 2000). In her research on audience reception of American Prime time show Dallas, Ien Ang (1985, p.26) found that each of the viewers watching the show shared an exclusive relationship with its characters and storyline. This experience or bond that they feel could be a product of their thinking, their social surroundings, and their background or depending on their social class and age group. Gender studies Why do women audience dominant this genre? As mentioned, soap operas heavily thrive on their viewers attention. And a large part of this audience is dominated by women. Because this genre deals with storylines and themes that are melodramatic, emotional, fantasy based, critics would argue that that are the reasons that soap opera producers can easily attract womens attention. But, feminists researchers believe that there are valid and important reasons as to why women love viewing these types of programmes. Undoubtedly, Soap operas are a means of entertainment, and provide the pleasure of viewing fictitious lives. Emotional realism, the fantasy world, melodrama are some of the reasons that evoke women to watch soap dramas but at the same time, it is important to note that female audiences bring a whole new meaning and knowledge to the soap opera viewing experience. One of the most exceptional qualities that women possess (as a gender) is the ability to relate and empathize with experiences. However, Ang(1985, p. 82) argues th at the fact that women love watching soaps is not so much associated with their social surroundings, especially housewives per se and that they are inclined towards a melodramatic lifestyle. Rather she points out that women are accustomed to tackle any situation psychologically, filled with a lot emotions. Hence, it becomes easier for them to identify with tragic structure of feeling inscribed in the dramas. In her work on audience reception of Crossroads, Hobson (2003, p.168) observed that women related the content of Crossroads, with their own personal lives, by relating the stories and characters with everyday lives. The problems depicted in the programme bore resemblance with the problems that they experienced. A lot Indian audiences, (again mainly women) enjoy watching soap operas because they feel that some of the situations or events in these programs teach them how to tackle family issues, since most of the dramas revolve around family lives as the main theme while rivalry, extra marital affairs, form the sub themes. Another important aspect that attracts women towards soap operas is fantasy world, which offers things and experiences that one cannot experience in real life. It acts a mode of escape from a daily routine in to the world full of possibilities. Pleasure of fantasy lies in its offering the subject an opportunity to take up positions which she could not in real life.The best example could be that contemporary soap operas such as Desperate Housewives and Sex And The City (SATC) narrate the story of women who are independent, powerful and charismatic, but at the same, they are shown to have their share of lifes struggles, and as expected they manage to work their way through domestic problems and family quarrels. For women viewers, such situations act as a means of forgetting their own personal problems by getting engrossed in such programmes. It gives them a chance to divert themselves from the pressures of their mundane life. Women form a personal bond with such characters and start im agining themselves to be like those fictitious characters. For some women, solving a domestic issue is too serious an issue, but when from a third persons point of view, they watch a TV character going through the similar situation, it tend to imagine the issue as a minor one. Moreover, apart from emotional involvement, these shows celebrate free spirited nature of womanhood by focusing attention on female friendships. In her interaction with women via group discussions on SATC, Deborah Jermyn found out that the programmes realism lay predominantly in its depiction of the womens friendships and conversation particularly within the scenes where they meet together as a group to talk.(Akass and McCabe, 2004, p.214) Moreover, the location of the show, New York, for some women, added the escapist quality to their life. However, Mary E. Brown makes a contrasting point here. She argues that soap operas usually portray women characters as passive and powerless on one hand, and sexual objects for men on the other (Brown 1990, p. 75). She gives the examples of strong and positive women characters such as Christine Cagney from Cagney and Lacey, and Maddie Hayes from Moonlighting. The former portrays the life of two strong, independent, working women living life in a modern way. Brown stresses that such positive representation of women on soaps operas act as potential role models of its female audiences. From such a perspective, it is only logical to claim one should strive to offer positive role models by supplying positive images of women. (Brown, 1990, p.83). Hobson (2003, p. 178) echoes Brown views by noting that The women characters that were seen as the most popular were those who had to struggle against the vicissitudes of life. British soap operas often are based on the topic of emotional realism. They are considered to be realistic in nature. In her discussion on English soap operas, Hobson found out that women audiences felt that the female characters in the show held strong popularity because they had the ability to cope with difficulties. Such qualities, as per Hobson are considered as admirable (Hobson 2003, p.178). Many of the characters in the series Coronation Street and Crossroads were women who themselves had to confront problems in their everyday lives, and the resolution or negotiation of these problems within the drama provided point of recognition and identification for the women viewers(167-68) Gender studies play a vital role in understanding how different members (male or female) of audiences think about a particular soap drama. It has been mentioned above how women have the ability to relate to the fiction and bring their own meanings to the soaps. Women, especially housewives who are considered as the prime targets of this genre, generally find this medium to get away from their mundane domestic life. Hence, they switch on to soap operas and watch stories of women who either have better or worse lives than theirs. It gives them a reason to escape from their own surroundings for a while. Men, on the hand, ideally prefer entertainment. They think that soap operas are dramatized beyond belief. They believe that soaps are generally slow and even a little fictitious incident in them is dragged and hyped. Moreover, they cannot be bothered to watch every episode of the show. In short, they are not brought to think emotionally as women usually do. This is an argument put forward by some theorists that identity of a soap opera viewer is inscribed in the soap itself. Soap operas identity is most dominant by women viewers. The competences necessary for reading soap opera are most likely to have been acquired by those persons culturally constructed through discourses of femininity. (Morley, 1992, p.129 cited in Chandler, 1994). Death of creative writing? Due to the qualities that soap operas inherit: exaggerated storylines, melodramatic imagination, tragic structure of feeling, emotional realism, escapism, it is often assumed that they tend to lack creativity and originality in terms of writing. In the recent years, there has been an increase in number of soap operas that are being produced. This might give television critics a reason to think that soap operas have nothing new to offer to its audiences, except stretched storylines and themes. This genre is originally meant to provide entertainment and the reason that it is successful in doing so, is because its audience loves it. They love being a part of writers fictitious world and then, also have the advantage of bringing their own endings or beginnings to these soaps. Moreover, it should be noted that the makers of such soap operas often take examples from real life events and situations and then play them out by adding drama and fiction to it. More importantly, the issues that formed the basis of stories were those which were important and relevant at the time when they were conceived and had a place within the planned storylines (Hobson 2003, p. 201). Since, they cater to a vast amount of audiences, it is impossible to the soap producers to not be reflective and not tackle the everyday issues. In a recent episode of BBCs Eastenders, the show tackled with the issue of cot death and baby swap. The episode was subject of a lot of debate and criticism. Viewers termed this particular storyline as awful tragic and sensationalism, especially since it was aired during the New Years time. The example that is previously mentioned about Eastenders, also to a certain extent implies that soap opera storylines do take instances from real life events. Another quote by Joyce Epstein, (FSID) saying, I would hope people can view it as something that happens on screen and is not real life. However, she did say that, But cot death does happe n (Thompson, 2011). This shows that scriptwriters do take instances from real life or issues that affect people and played them out on screen. Rather than saying that soap opera writers lack creativity, it should be said that they possess reflectivity, the tendency to reflect their views through dramas, while keeping in mind its relevance. As Henderson notes, Creeber challenges the perception of a decline in quality programming and argues that we should not lament the death of the single play but should instead celebrate the generic hybridity of television drama (Creeber, 2004, p.15, cited in Henderson, 2007, p.15). A T.V drama writer has the whole world of imagination to choose from, (Henderson, 2007, p. 9). They have the gift to experiment with the storylines, introduce new characters from time to time, bring mini climaxes and dramatize cliff hanging moments. The Eastender example manage to grab the eye balls apart from becoming a topic of debate, and both these points work in the favour of the show, because it keeps the audiences hooked and possibly also get the attention of viewers who are not regular watchers. According to Henderson, 2007 (p. 168), the production team behind the working of soap operas most often bring their own experiences to the show, hence acting as surrogate audience. Hendersons thoughts are echoed by Hobson as well. Hobson argues that the biggest advantage soap operas have as compared to other genres is that this genre has the scope to engage the audiences by exploring the events based on daily lives. Soap opera writers stay true to their audiences by showing their high creative ability to adapt real life situations rather than manipulate them. The repetitive nature of soaps, with its core of established characters, may also allow a level of identification and empathy which is impossible to replicate in other fictional forms. (For example, the single play) p 174 h) Ang states a rather different view on this. She asserts that exaggerated plots and themes function as metaphors for lifes torments.(Ang, 1982, p.63) She adds that this should mean that there is a lack of creativity or originality in the soap operas as critics who opine this ignores the structural function that lays this genre. The repetitive nature of soaps acts as metaphors for lifes torments in our culture, speaking directly to the imagination of the public.(Ang, 1982, p.64). An exploration of the important issues in everyday life, the soap opera provides a set of representations which can be seen as vibrant reflections of reality. They work because they reflect important issues and they connect with the experiences of the audience; unless they make that connection they will not succeed. After all, shows like Eastenders have always talked issues such as teenage pregnancy, issues related to drugs, suicides and extra marital affairs. Social relevance Lesley Hendersons research in the field of television fiction stresses on the argument that television fiction is not simply is a site of pleasure but it also is a site of definitional power (Henderson, 2007, p.8). She also adds that Soap opera has emerged as a format within which controversial or socially sensitive issues are played out (Henderson, 2007, p 12). As soap operas cater to a wide range of audiences across the world, it becomes important for the broadcasters to own up a moral responsibility by imparting social education to the audiences, apart from just entertainment. When producers realised that the audiences were slowly getting alienated from family dramas, they shifted their focus on socially relevant issues like Child marriage, eve teasing, female infanticide and other important issues and incorporated them into stories. Soon, the television fiction saw a huge change in the way soap operas were earlier perceived. Women, Men and children and elders, everyone started wa tching soap operas again and applauded the creative teams for talking about issues that were long ignored. Television fiction has largely been studied as a site of entertainment and pleasure despite its importance in relaying social meanings and cultural forms (Grispurd 1995, p.21, cited in Henderson, 2007, p.7). A recent T.V drama, Nivedita, talks about the issues of HIV/AIDS. Inspired from education oriented soaps operas produced in South America, this soap opera follows the route of education as entertainment, as described by its makers. Its a 26 episode series and at the end of episode, viewers get to see a short message on HIV/AIDS awareness by celebrities. In a developing country like India, where HIV/AIDS epidemic is one of the major concerns, a soap opera like Nivedita is a good way to educate the audiences about the epidemic. Besides, in India, television and film actors are considered as demi gods, whatever they do, good or bad, audiences keenly observe them. According to marketing strategy followed by media owners, incorporating a social message as a part of storyline is an eff ective tools because viewers relate to them in a better way (Pain, October 2010). The secret is to make sure that the drama remains recognisably real while subtly redefining reality in such a way as to alter perceptions of what is normal and good (Carlin 2003 in Henderson, 2007,, 2007, p.18-19). The fictional soap operas and the situational comedies give us an impersonal way to begin a debate about moral issues. (Slade, 2000, p. 424) Slade(2000, p.422-423) provides an example of Mirada de Mujer, a Mexican high quality telenova. Based on the life a women character Marie- Inà ©ss, this soap opera dealt with controversial themes such as AIDS, unwanted pregnancy and extra marital affair. It became a topic of debate not only in domestic sphere but also in the Mexican press. The life events of this central character were a constant topic of debate among Mexican household. Thus, this telenova was successful in generating enough controversy and encouraging people as well members of the audiences in participating in social debates. But, in order to be a success in terms of attracting the audiences, such soap operas need to thoroughly understand the audiences needs as well. The producers of soap operas that deal with a certain social message need to make sure that the message is clearly put across to the audience, for them to continue watching the show. (Henderson, 2007, p.19) They should avoid making the drama look like a documentary or a commentary. Contemporary soap operas audiences feel the need to be entertained with every scene. Hence, a right balance of entertainment and seriousness is a must for such a soap drama. How is this genre different from other dramas? Unlike some of the other genres such as crime, the format of soap opera is not meant to be full of suspense, where the audiences are supposed to tune in everyday to see the suspense unfold, rather this genre is a product of a long, slow, and complex fiction which becomes successful in engaging the audiences, as they are tempted to know more about the storyline and characters. According to Ang (1982, p.57), even as the theme is recurring and repetitive, it works in the favour of the audience, as they start viewing the show not as an outsider but as one of members of that show. aUnlike a talk show, where audiences are just made sit and watch two people converse, in soap operas, the main theme is constructed in a way that it seems never ending. Life in a soap opera is full of troubles crime, rape, burglary, extra marital affairs. The French semiologist Violette Morin points out, for example, that the popularity of the television serial could derive from the fact that the life depicted in it seems to proceed more slowly than real life. (Morin cited in Ang, 1982, p.81) This could mean that in todays contemporary society, where people have to just rush through moment, due to time constraints, they till crave for a life in slow motion. A small incident in a soap drama stretches for minutes, sometimes days, hence bringing a melodramatic meaning to audiences life, which they normally do not experience. The longer they run the more impossible it seems to imagine them ending.(Geraghty, 1991, p. 11, cited in Chandler, 2004) Conclusion: Undoubtedly, as Charlotte Brunsdon put it, soap operas today have become a subject of many syllabuses, rather than being considered merely an object of ridicule. While it has been mentioned that audience engage and contribute their understanding in the viewing of soap operas, it should also be kept in mind the judgment of this knowledge and comprehensive study largely depends on a viewers own awareness of culture and experiences, meaning that a particular story or a scene in a soap, could possibly have different meanings. It can also be concluded that soap operas take the process of communication beyond the experience of television viewing itself, in the form of social debates, imitating the fictional characters and their lives. Through the analysis of Angs work, it can be said that soap opera audiences relate to the metaphors that storylines often depict and this is study is relatable to contemporary soap opera audiences as well. The pleasure of watching a soap lies in i ts exaggerated plots, emotional sufferings and cliff hanging plots. The experience of watching a soap drama is very personal too, because everything is told from a personal viewpoint. Another assumption that can be disrupted from the research on Active audience is that contemporary soap opera audiences have become smart and aware of that content they are watching. They can no longer be fooled by the programme markers. That means, even programme makers have to deal with certain challenged to keep the viewers engaged. So, it is a possibility that in an effort to keep the audiences glued to the drama, producers today resort to techniques such as over dramatizing the events, sensational stories, spreading true or false link up stories of their TV actors in media, because today since news spread really quickly, owing to the internet and hence, such means help the producers in grabbing eyeballs. After all, any publicity is considered to be good for such shows. Lastly, it is important to understand that soap operas were originally meant to offer a company to housewives, who fitted their daily routine work around soaps. A domestic life of any person is filled with all kinds of emotions. These are used as metaphors to depict situations and events in soaps. While it is a valid argument that emotions are portrayed in extreme ways of melodrama, it cannot be denied that these metaphors are sourced from real life events, more or less. Apart from providing entertainment to their audience, a soap opera producer also holds the responsibility to regular be reminded of their social responsibility as a broadcaster. Critics, who view soap operas as merely a source of repetitive pleasure, need to understand that socially relevant themes can also act as means of pleasure for the audiences. After all, bringing up socially relevant issues too form a source of moral debate in the contemporary society. But when what has happened in the last thirty years or so is, a strange restructuring of presenting women on screen. This point is most valid with context to contemporary shows such as SATC and Desperate Housewives. While it has been pointed out that such shows celebrate the true spirit of women, but at the same time, shows trivialises the female condition by making them into money hungry, male craving pieces of physicality. A valid query could be do they want anything else? is the changing the attitude of the people or are people forcing their opinions onto shows? Similarly, another stereotypical notion arises when one views Indian TV soaps, where the traditional housewife is shown as the positive role model while the sexy modern thinking woman is the vamp. The strange aspect of this is that these stereotypes are still prevalent; somehow these facts are overlooked by audiences because of the popularity this genre holds. Lastly, the reason that audiences keep coming back to their favourite soap operas each and every day lies in the fact that they not only do they relate to the storylines and characters but it is the personal experiences and memories that these soaps show which intensifies their relationship with this genre, because they feel that they have been through such situations at some point of time. As Hobson (2003, p.202) puts it, The future of soap opera of intricately interwoven with the power and desire of the audience.

The Lion, the Witch and the Wardrobe by C.S. Lewis Essay -- Literature

In C.S. Lewis’s The Lion, the Witch, and the Wardrobe, Lewis emphasizes the three points of philosophy, themes, and symbolism throughout his writing. Lewis was a strong Christian man, and wanted to make children see and understand all the stories of the Bible. Therefore, he put Christian elements through his books, but with fantasy characters as well. Especially in this story, Lewis conveys the differences between good and evil. Aslan is represented as Christ just as the White Witch represents the sense of evil. Lewis wrote several books in this Narnia series, but The Lion, the Witch, and the Wardrobe became the most famous and recognized of his novels. C.S. Lewis became one of the most prominent Christian writers in contemporary British society, not only because of his devotion to Christ, but also because his stories were so outstanding (Hitchens). Lewis wrote both fantasy and Christian books, which were both connected to each other in their own way. He used Christian elements to write fantasy stories, and vice versa (Langford). When he began to write The Lion, the Witch, and the Wardrobe, he placed the story with four children that had to move out of their own house during the air raids (Hannay). In chapter one, the book tells us: â€Å"This story is about something that happened to them when they were sent away from London during the war because of air-raids. They were sent to the house of an old Professor who lived in the heart of the country, ten miles from the nearest post office. He had no wife and he lived in a very large house with a housekeeper called Mrs. Macready and three servants† (Lewis 1). When the actual adv enture begins, one of the four children entered the wardrobe’s doors while playing hide and seek with her sibl... ...oit: Gale, 2005. Literature Resources from Gale. Web. 12 Jan. 2012 Patterson, Nancy-Lou. "Always Winter and Never Christmas: Symbols of Time in Lewis' Chronicles of Narnia." Mythlore 18.1 (Autumn 1991): 10-14. Rpt. in Children's Literature Review. Ed. Tom Burns. Vol. 109. Detroit: Gale, 2005. Literature Resources from Gale. Web. 12 Jan. 2012. Pietrusz, Jim. "Rites of Passage: The Chronicles of Narnia and the Seven Sacraments." Mythlore 14.4 (Summer 1988): 61-63. Rpt. in Children's Literature Review. Ed. Tom Burns. Vol. 109. Detroit: Gale, 2005. Literature Resources from Gale. Web. 12 Jan. 2012. Walsh, Chad. "The Parallel World of Narnia." The Literary Legacy of C. S. Lewis. New York, N.Y.: Harcourt Brace Jonavich, 1979. 123-157. Rpt. in Children's Literature Review. Ed. Tom Burns. Vol. 109. Detroit: Gale, 2005. Literature Resources from Gale. Web. 12 Jan. 2012.

The Eucharist Essay -- essays research papers fc

Eucharist is the central rite of the Christian religion, in which bread and wine are consecrated by an ordained minister and consumed by the minister and members of the congregation in obedience to Jesus' command at the Last Supper, â€Å"Do this in remembrance of me.† In the Orthodox and Roman Catholic churches, and in the Anglican, Lutheran, and many other Protestant churches, it is regarded as a sacrament, which both symbolizes and effects the union of Christ with the faithful. Baptists and others refer to Holy Communion as an â€Å"institution,† rather than a sacrament, emphasizing obedience to a commandment. Traditionally, Jesus' command to his disciples at the Last Supper to eat the bread and drink the wine â€Å"in remembrance of me† constitutes the institution of the Eucharist. This specific command occurs in two New Testament accounts of the Last Supper, Luke 22:17-20 and 1 Corinthians 11:23-25. Older theology asserts that Jesus gave this command on this occasion to ensure that Christians would break bread and drink wine in his memory as long as the church endured. A critical approach to the Gospel texts, however, has made this conclusion less certain. The command â€Å"Do this in remembrance of me† does not appear in either Matthew's or Mark's account of the Last Supper. Consequently, a number of scholars have supposed that the undoubted experience of communion with the risen Christ at meals in the days after Easter inspired in some later traditions the understanding that such communion had been foreseen and commanded by Jesus at the Last Supper. The matter can probabl y never be resolved with complete satisfaction. In any case, the practice of eating meals in remembrance of the Lord and the belief in the presence of Christ in the â€Å"breaking of the bread† clearly were universal in the early church. The Didache, an early Christian document, refers to the Eucharist twice at some length. The Didache and the New Testament together indicate considerable diversity in both the practice and the understanding of the Eucharist, but no evidence exists of any Christian church in which the sacrament was not celebrated.   Ã‚  Ã‚  Ã‚  Ã‚  The development of Eucharistic doctrine centers on two ideas: presence and sacrifice. In the New Testament, no attempt is made to explain Christ's presence at the Eucharist. The theologians of the early church tended to accept Jesus' wo... ...s of Scripture readings, a sermon, and prayers. This part of the Eucharist, apparently adapted from Jewish synagogue worship, has been prefixed to the service of bread and wine at least since the middle of the 2nd century. The second part of the service, the â€Å"service of the Upper Room,† consists typically of an offering of bread and wine; the central Eucharistic prayer; the distribution of the consecrated elements to worshipers; and a final blessing and dismissal. This particular part of the service has its roots in the ancient traditional table prayers said at Jewish meals. The central Eucharistic prayer, the Anaphora, which is Greek for â€Å"offering†, typically contains a prayer of thanksgiving for the creation of the world and its redemption in Christ; an account of the institution of the Last Supper; the oblation, or Anamnesis—the offering of the bread and wine in thankful remembrance of Christ; the Epiclesis, or invocation of the Holy Spirit on the bread and wine and on the congregation; and prayers of intercession.Bibliography Underwood, Karen. The Eucharistic Prayer. New York: Dodd, Mead, & Co., 1985 â€Å"Eucharist,† World Book Encyclopedia (1999 edition), IV, 290-92.

Edward Said

In any part in the world, there is no place to be but home. Home is a place where we feel safe and take refuge. But how we will feel if this is taken from us? The essay by Edward Said, â€Å"States,† narrates the story of about his country, Palestine, and the struggle of his countrymen. He also shares the passion of his homeland which we can relate to. â€Å"States† exemplify the experiences and perceptions of how important a home is to a common Palestinian. Our country is a big part of who we are. As we are born, we are destined to become a part of it. It becomes part of our identity. Things that we grew up with meant something to us. We usually treasure things that became part of our lives. Even unconsciously, we take hold of it. Home brings us memories, memories that we want to hold on up to our last breath. It plays a big role to our development, as a child and as a person fully. Home is part of ourselves which became a foundation of we are today. To be away from home makes us feel empty or incomplete in a sense. This is experience by people who are exiled from their own homeland. Exiles are treated as aliens and feel shame to one’s pride. As Said explains â€Å"exile is a series of portraits without names, without context. † (Said,555). Exile is a miserable thing. Nothing can be so embarrassing than to be taken away from home. It saddens a person to feel a stranger to his own country. One is not only deprived of the social rights but as well as the freedom. As described in the essay of Edward Said an exile is referred as â€Å"present absentees† where to their homeland, they are vanished and as for the host country they are viewed as aliens.