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April 19, 2001--Tennessee State University has renamed the Heiman Street Residential Complex the Harold E. Ford Sr. and John N. Ford Residential Complex. The Ford brothers were joined by other family members for ceremonies help April 18 on the grounds of the complex. "It is wonderful to see so many senators here today; we can hold a budget meeting right now," Harold Ford said, as he pointed out dignitaries in the audience. They included Lieutenant Governor John Wilder, Deputy Governor Wendell Moore, Senator Gene Elsea, Senator Doug Henry, Senator James Kyle Jr., and Senator Randy McNally. After receiving commemorative gifts, the Fords surprised the audience with a gift to Tennessee State of $500,000. "This is a truly outstanding donation, and the Fords can be sure Tennessee State University will put it to good use," said TSU President James Hefner. There are 12 siblings in the Ford family, most of whom graduated from Tennessee State University. On hand for the presentation were brother Joe Ford; sisters Joyce Ford Miller and Ophelia Ford; nephews James Ford Jr. and Edmund Ford; and Autumn Ford, John Ford’s daughter. Harold Ford Jr., U.S. Representative, relayed his regrets for not being able to attend, as did Governor Don Sundquist and former vice president Al Gore. "I am proud today," said Lt. Gov. Wilder. "Is it because of the bricks and mortar we are recognizing today? No, though we need bricks and mortar. Is it because of Tennessee State University? No, though that is reason to be proud. "I am proud because I look back to Purdy, Tennessee, where Otis Floyd [former president of Tennessee State University] attended school in a one-room schoolhouse. He let me walk by his side. I am proud when I think of Odell Horton [United States District Judge for the Western District of Tennessee] working in a cotton patch in Hardin County. He let me walk by his side. But nothing makes me prouder than this family. I love you; God bless you." U.S. Representative Harold Ford Sr. became the first African American from the state of Tennessee to be elected to Congress and served from 1975 until his retirement in 1997. Senator John N. Ford has served in the Tennessee State Senate since 1974. He has been a key supporter of Tennessee State University throughout his legislative tenure and played a significant role during the development of the $112 million master plan for campus improvement. Both Congressman Ford and Senator Ford are alumni of TSU who have continually supported the university throughout their careers.

‘The Pit and The Pendulum’ by Edgar Allan Poe and ‘An Encounter’ by James Joyce Essay

An analytical study of ‘The Pit and The Pendulum’, ‘An Encounter’ and ‘The Pedestrian’, focusing on the themes of paralysis, entrapment and isolation The texts chosen for this study are: ‘The Pit and The Pendulum’ by Edgar Allan Poe and ‘An Encounter’ by James Joyce which, I feel, are appropriate as they provide comprehensive coverage of the themes analysed whilst managing to cover a historical period of some seventy years1. Poe’s piece is a dark, Gothic work which deals, in great depth, with the notion of both mental and physical paralysis encompassed in an entrapping and isolated atmosphere. Joyce, on the other hand, takes a characteristically more diverse and subtle approach to the concept of paralysis, cunningly concealing the theme within the stagnant surroundings of his Dublin. Verbal ‘entrapment’ is furthermore offered in the form of a dubious elderly man. The story ‘An Encounter’ by James Joyce amply exhibits many stylistic features associated with the modernist author – for example the use of epiphany or writing through first person narrative, with inner monologue to highlight the consciousness of the protagonist and also subtly divulge the feelings of others to the perhaps more ‘aware’ readership. However, Poe, on the contrary, chooses to play the cards of shock and terror in a style which is far more explicit and gruesome in comparison with Joyce’s incorporation of ambiguity. The theme of paralysis is key to Joyce’s work – the notion is implicit throughout Dubliners as a whole. With this idea comes its antithesis – escape – or with respect to ‘An Encounter’ and many of the other stories, thwarted escape. It is because of the character’s desire to achieve this freedom, that when the day fails to reach its high expectations, the stagnation and restrictiveness of the surroundings are powerfully reinforced – perhaps even confirmed. From the outset of the tale, Joyce ponders the notion of escape. Characters searching for such an escape, often describe how they would wish to travel afar to achieve it. So important, it seems, is this idea that the protagonist of the initial story of Dubliners, can be quoted of aspiring to exotic, foreign fantasy: ‘I felt that I had been very far away, in some land where the customs were strange – in Persia, I thought.’ This feeling is openly exhibited in ‘An Encounter’, as Joyce’s first person narrator states; ‘Real adventures, I reflected, do not happen to people who remain at home: they must be sought abroad.’ In the story, Joyce develops the theme in the form of an inner monologue – the thoughts of the protagonist dictating how his ‘Wild West’ adventures ‘opened doors of escape’. The method used is quite customary of the author- the thought processes of the boy (relating to escape) are ultimately what drive the tale, yet Joyce quietly conveys them through subtle, nondescript details. Joyce’s relationship with his hometown appears, like his works, slightly ambiguous. He may often be quoted of his distaste for the stagnant city2, succeeding in displaying it with an absence of enthusiasm, as a moribund, non-eventful hive. However, one feels that on reflection, after reading his work a subtle affection is undoubtedly apparent – perhaps Joyce’s time spent in exile3 incubated an innate longing for the city – Dublin’s entrapment being, perhaps, what fuelled this fascination with the petty happening of the city? Joyce’s relationship with the theme of entrapment in Dubliners is essential to the text: at times he appears intent, at others repelled. ‘An Encounter’ deals with methods of escape other than exotic foreign adventure, focusing on the attempt of two boys to ‘break out of the weariness’ of their everyday environment. Although, at first the prospect of adventure excites the young boys, there is constant undertone of anti-climax carefully intertwined into the story. Joyce writes from the first person point view, often through analepsis. It is perhaps because of this that a frequent air of frustration pursues the young schoolboys – it is as if the story is being recalled by a man embittered by the ‘restraining’ and ultimately paralysed city of Dublin. Quite often Joyce refuses to commit any fervent emotion to events, preferring to use lacklustre qualifying adverbs or adjectives; ‘†¦ We were all vaguely excited†¦ it was a mild sunny morning’ Joyce intently chooses to focus in on the most insipid details, usually choosing to focus on empirical sense experience – such as Mahoney’s grey suit or the ‘brown4 fishing fleet’- which works to suppress the buoyant atmosphere. This notion is also relative to the descriptive mood, which the author quite purposely generates through negative evocation of certain aspects: ‘†¦ The docile horses†¦ the drivers of groaning carts.’ This process of qualification through modifiers generates a subdued atmosphere parallel to that of the jaded inner-consciousness of the protagonists. The negativity which is now apparent in almost everything encountered appears to be an entrapping agent over the boys, who sulk into a resigned and somewhat resentful state, a state which is furthermore reiterated by the repetition of the adverb ‘too’: ‘It was too late and we were too tired to carry out our project of visiting the Pigeon House.’ Joyce has succeeded in presenting Dublin as an impotent city of circularity and entrapment. He is now anxious to erase the protagonist’s claim; ‘I was very happy’, from the audience’s memories, introducing words such as ‘solemn’, ‘sedulous’ and eventually even denotes the character’s thoughts as ‘jaded’. There is constant, yet suitable repetition of the adjective ‘tired’ – the day has become tedious, adventure and escape have proved elusive, and the encounter of a less than legendary sea-farer has confirmed that the protagonist will not find merriment in Dublin, forever doomed to live in the fantasies of comic book and literature. However, despite its lack of event, the day does provide the boys with one notable incident. Aspirations of escape having been superseded, Joyce begins a new paragraph focusing primarily on the silence and ‘stillness’ of the eventual situation: ‘There was nobody but ourselves in the field. [We had] lain on the bank for some time without speaking’. Through creating such an ominous, yet ‘dying’ atmosphere – sentences slowly becoming shorter, more concise (defeating imaginative possibility as displayed by the boys hitherto) and less picturesque use of vocabulary – Joyce signals the need for new themes to be introduced. He achieves this through the introduction of a curious elderly antagonist. The old man introduces the possibility of in-depth monologue and direct speech. In the conversation with the boys, he seemingly manages to entrap the young protagonist with his reference to literature – a topic of known interest to the boy – and also through cunningly incorporating a sinister ‘circular’ approach. Joyce is very keen to exploit the idea of circularity in his work and in this piece, the ‘monotonous’ voice of the antagonist and the way his voice ‘slowly circles round and round in the same orbit’, help to achieve the spellbinding quality of the man. This technique paralyses the narrator, who seemingly allows the man to give a discourse in the form of a monologue – mainly due to his apparent inability to interrupt. The politeness evident in the boy’s character is in hindsight, far from being useful. Joyce implicitly airs his personal views on the expensive Jesuit schooling that the protagonist has been subject to by placing the boy in a situation of danger. The resultant irony – learnt social skills being a hindrance – also helps highlight Joyce’s disregard for the church and its establishments. The worrying feature of the man’s discourse is the implicitly perverse way in which he speaks. He frequently refers to the ‘whipping’ of young boys, with one feels, over-excitable ardour. Joyce establishes the man’s odd approach through primarily using such adjectives as ‘magnetised’ and ‘circle’ in reference to his thought process. This creates the impression that he is intent on the subject. Secondly, a section of reported speech is introduced; ‘When a boy was rough and unruly there was nothing would do him any good but a good sound whipping†¦ what he wanted was to get a nice warm whipping.’ Joyce emphasises the mans positive outlook on the subject through the use of a positive lexical range; there is repetition of the word ‘good’ – firstly as a noun, secondly as an adjective – and also use of the adjective ‘nice’, which appears somewhat misplaced when used in conjunction with the concept of whipping. The protagonist’s isolation from sympathetic intellectuals due to young age means he is quick to warm to the old man when he talks of literature. In the epiphany, he even appears isolated from his closest friend, Mahoney, and it appears to me that the epiphany of the piece (from the young boy’s perspective) confirms that the older man has had a profound influence on his views – both intellectually and sexually. It appears that after entrapment, the isolation of the naà ¯Ã‚ ¿Ã‚ ½ve child has left him susceptible to corruption and the ‘encounter’ has left the boy and the audience with the idea (with undoubted authorial intent) that the world is not such an innocent place. Such mental metamorphosis is more openly explicit in Edgar Allen Poe’s work, no epiphanies are evident, yet a first person narrative works to convey the progressively tortured thoughts of the protagonist to the reader. ‘The Pit and The Pendulum’ is a piece typical of the nineteenth century ‘gothic horror’ genre. The main area of focus is that of psychological terror and mental torture of the protagonist, brought about through natural agents and physical entrapment and isolation. The style is typical of Poe, aesthetic – as opposed to scientific – and wholly grotesque. The piece is, in its simplest form, an account of the destruction of the protagonist’s psyche. Poe begins ‘in medias res’ by describing the trial of the man, the narrator intently focusing upon his gloomy and confused mental state. Syntax used is complex and verbose, helpfully describing the characters inner consciousness and displaying his tangled, entrapping thought processes. The lexical field and imagery employed is especially exotic and indulgent – Poe uses metaphorical language peppered with adverbs and adjectives as the candles before the man alter from ‘white slender angels’ to ‘meaningless spectres, with heads of flame’. Another technique which is commonly employed by Poe is that of repetition, in this particular story, Poe often relies on the syntactical position of verbs to gradually heighten tension, and prompt his audience. A good example of repetition may be found when the protagonist is awaiting his doom at the hands of the pendulum – each new paragraph commences with the preposition ‘down’: ‘Down – steadily down it crept†¦ Down – certainly relentlessly down!.. Down – still increasingly – still inevitably down!’ This repetition works to give extra strength to the nemesis and increase the tense, anxious and bleak atmosphere. The notion of ‘down’ is the most important in the authors mind, and the layout of the word on the page vividly reflects the terrifying motion of the blades descent and, more importantly, the ever more dejected mental state of the protagonist. A technique used by Poe – and also exhibited by Joyce- is that of prolepsis. The fact that the protagonist is often left thinking of what ‘may be’ suggests a certain degree of isolation – the surrounding atmosphere offering no apparent subjects for the character to focus on in the present. In ‘The Pit and the Pendulum’, Poe incorporates a feeling of perpetual unease into the thought processes of his protagonist. There are frequent examples of this which often come about directly before the ‘ghastly’ prospects of the character are realised; as in the heightened, almost hysterical language and excited syntax of: ‘The result of the slightest struggle, how deadly! Was it likely, moreover, that the minions of the torturer had not foreseen and provided for this probability? It is characteristic of Poe to use hyperbole, a technique which creates a melancholy, theatrical feeling – often seemingly increasing the grandeur. Hyperbole also escalates the terror and entrapment suffered by the protagonist, the indulgent language used portrays a somewhat exaggerated experience to the audience. This technique is supported by extensive use of adjective and adverb, commonly negative in effect, as when the protagonist is close to death by the pendulum; ‘The odour of the sharp steel forced itself into my nostrils. I prayed – I wearied heaven with my prayer for its more speedy descent. I grew frantically mad, and struggled to force myself upward against the sweep of the fearful scimitar. And then I fell suddenly calm, and lay smiling at the glittering death†¦Ã¢â‚¬â„¢ Psychological entrapment in the story is offered in the form of ‘The Pit’. To accomplish the desired atmosphere for such a tortured fate, Poe begins to describe the physical surroundings of the protagonist in some detail. The ‘subterranean world of darkness’ to which the man is instantly subject to is stereotypically associated with Poe’s genre of writing, the gloom becoming a perfect vehicle to carry an unnerving, mystifying atmosphere. Further concern for the antagonist is drawn from the constant reference to his ‘fatigued’ state and also the dangerously ‘moist and slippery’ characteristics of the chamber. The tension generated relies heavily on Poe’s use of syntax – the protagonist encounters ‘The Pit’ through a sequence of brief sentences: ‘I proceeded for many paces; but still all was blackness and vacancy. I breathed more freely.’ The length of the sentences and the fact that Poe does not feel it necessary to justify or convolute the thoughts of the protagonist – who currently sees his punishment as ‘[not] the most hideous of fates’ – represents relatively calm and clear thought processes. As the narrator becomes evermore aware of the horrific situation, Poe mirrors his mounting terror through increasingly complex syntax: ‘The difficulty, nevertheless, was but trivial; although, in the disorder of my fancy, it seemed at first insuperable.’ Poe’s evidently excessive accentuation of punctuation, creating furthermore verbose sentences, achieves a faster movement of thought and a growing sensation of confusion. Eventually, as the protagonist gradually uncovers the secrets of his confinement, a greater fear of entrapment and danger being incubated inside him is realised. Poe displays this through every quickening pace in complex sentences which are supported with dashes – giving the effect of total bemusement and terror in the protagonist, feelings which almost lead to the making of treacherous mistakes. Quite suddenly, with a simple sentence – perceptibly out of step with the ever-increasing complexity of the syntax – the climax of the character’s investigation is revealed; ‘I stepped on it, and fell violently on my face.’ With the inclusion of this short, astute sentence, Poe signals that complex syntax hitherto has given sufficient insight to the audience and that the tensi on has peaked. The fact that the piece is written in the form of a first person narrative always suggests – in a similar style to James Joyce’s reflective, possibly older narrator – that the protagonist is reminiscing about his exploits, and that ultimately the piece will not end in his death. This is, of course, the case when General Lasalle of the French army comes to the rescue. The ending is extremely interesting as Poe chooses, unlike the other events of the story, to dramatically reduce proceedings – deciding to summarise the rescue in a short paragraph. The said paragraph uses more restrained syntax – exclamation is succeeded by a simple statement which, in the context, appears almost bathetic. ‘The fiery walls rushed back!.. The French army had entered Toledo.’ It is not entirely clear why Poe has chosen to end the piece in an almost anticlimactic manner. Perhaps he chooses to condense the singular joyful occurrence of the narrative thus maintaining its stance as a work of horror. Many sources, however, maintain that the story’s closure was dictated by demanding time restrictions implemented by Poe’s publishers5. Another reason for Poe choosing a first person narrator is perhaps that this perspective gives us a stronger feeling of entrapment due to our constant awareness of the innermost feelings of the protagonist. The narrative does not, unlike a third person perspective, allow the audience to transcend the situation, providing direct access to the horror which is occurring on the page. There is also no direct speech in the story. This fact reinforces the idea of isolation in the way that the protagonist has no need to speak due to absolute solitude. The grotesque element of Poe’s work, which quite frequently works as a perversely aesthetic or romantic catalyst for the mental entrapment of the protagonist, is usually evident in the form of a tormentor drawn from nature.6 In ‘The Pit and The Pendulum’, psychological suffering is brought on by a swarm of rats. These animals bring negative connotation, as they are associated with such horror as The Plague. They are definitely an effective device which works to supplement the physical entrapment already being suffered by the protagonist at this time. At one point, Poe also uses ‘fearful images’ of skeleton forms and such, which ‘disfigure’ the surrounding walls. It is stated that these figures have been created by monks, suggesting that this environment is some kind of medieval building – not designed specifically for torture. It is therefore interesting to observe how Poe manages to alter these innocent images into emotionally petrifying fiends – working as the author will have wished, to terrify the protagonist and therefore, the readership. By introducing entrapment in the form of the wooden framework and hideous vermin, Poe has realised the importance of including both physical and metaphysical entrapment a work of the Gothic horror genre of which he is undeniably a master.    1 ‘The Pit and The Pendulum’ was first published in 1843 for a collection named The Gift, later (revised) for the Broadway Journal in 1985. ‘An Encounter’ – taken from Dubliners – was written in 1904 yet published 1914. 2 In a letter to his English publisher, Grant Richards, he claimed that his intention was ‘to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis.’ (Letters, II, 134). 3 During the summer of 1904, Joyce and his new-found love Nora Barnacle left Ireland for Europe. At ‘An Encounter’s’ time of writing, it is most likely that Joyce was living in Pola – Croatia. 4 The use of the adverb ‘brown’ is also evident to the same effect in the story ‘Araby’. Entrapment is projected through the ‘brown imperturbable faces’ of the housing. 5 SEE NOTE

Future Tenses Review Quiz for ESL

This quiz reviews future forms including: Future simple - Used for predictions, spontaneous reactions and promisesFuture with going to - Used for plans events and things you see are about to occurFuture perfect - Used for what will have been completed by a future moment in timeFuture continuous - Used for what will be happening at a specific moment in time in the futurePresent continuous for the future - Used for scheduled events in the future Future Forms Quiz Choose the correct future form in brackets and type it into the box. Click on the button to check your answer. Peter knows that he (will / is going to) fly to Chicago next week.Oh no! Ive broken the vase. What (am I going to say / will I say)?Jack (is having / will have) a dinner party next Saturday.By the time you arrive, Ill (have been / be) working for two hours.John hasnt eaten. - Dont worry (I will make / I am going to make) him a sandwich.Well go out for dinner when he (gets in / will get in).Unless he arrives soon, we (will not go/ are not going) to the party.(I will be studying / I will have studied) at 9 tomorrow evening.(We will have finished / We will finish) by 9 oclock.Look at those clouds! It (is going to rain / will rain)! Quiz Answers Peter knows that he is going to fly to Chicago next week. -  Use the future with going to to express future plans.  Oh no! Ive broken the vase. What will I say? -  Use the future with will when reacting to something that happens at the time of speaking.  Jack is having a dinner party next Saturday. -  Its possible to use the present continuous when speaking about scheduled events in the future.  By the time you arrive, Ill have been working for two hours. -  Use the future perfect to state what will have been finished before a time in the future.John hasnt eaten. - Dont worry I will make him a sandwich. -  Use the future with will to react to a present situation.  Well usually  go out for dinner when he gets in. -  Use the future with will when using when in the same sense as if.  Unless he arrives soon, we will not go to the party. -  Use the future with will in real conditional (first conditional) sentences.  I will be studying at nine tomorrow evening. -  Use the future continuous to express what will be happening at a specific moment in the future.  We will have finished by nine oclock. -  Use the future perfect to express something that will be completed by a specific time in the future.  Look at those clouds! It is going to rain! -  Ã‚  Use the future with going to when you can see that something is about to happen.   If youve had difficulty understanding the reasons for these forms, make sure to review future forms and then take the quiz again.

Should High-School Graduates Shouldn’t Take a Year Off...

Should High-school graduates shouldn’t take a year off before entering college. As you prepare for graduating high school, you previously determine whether you should enroll into college, or take a year off. In many opinions, there are many negative affects if you decide to take a year off of school, instead of attending after graduating high school. The traditional concept is to enroll into college after getting out of high school, for many reason’s it will be beneficial to succeeding in furthering your academic pursuits, rather than loosing time taking a year off instead of going into college. High school graduates that attend college the year after high school tends to have a well knowledgeable mind, and retain more from what they†¦show more content†¦Putting yourself into a position, not knowing your actions creates a higher span of hypocritical action. Statistics proven that 69% of high school students enroll in college after high school. They are more lik ely to finish college quicker, than taking a year off. It’s easier for these students to decide whether they want to pursue their dream or career field in order to graduate. Many people take their time, switching majors, so enrolling in college as soon as you graduate high school, will give you a wider range of choices in a fixed amount of time. The majority of students that enroll into college make the decisions that attending college is better after graduating; they can work in their career field at a younger age, and have a successful future. Most of the students enrolling in college obey their parents’ wishes; all parents want their kids to attend college to get a better education for themselves. Especially, in a society we live in, many jobs require some sort of college degree. Time is money, and the more time you waste, the more money you have to dish out to engage academic pursuit. In other cases, students that take a year off tend to be lazy to enroll into coll ege, and make it tough for them to getting a good job without the degree they need. It’s a higher rate of drop-outs, because they think it isn’t for them. Also takes longer period of time to get a degree, and graduate or transfer college.Show MoreRelatedAmerica s Need For Free Higher Education1178 Words   |  5 Pagestuition at state schools is 9,410 dollars per year so times that by four years it’s a grand total of 37,640 dollars. This isn’t including meal plans, books, and room and board. The United States of America should provide free higher education, college, to all U.S. citizens. The U.S. would benefit from all that this would bring. The expenses that this service would cost is worth the advantages that it provides. There are many people that will be positively affected by a free college education. Read MoreAdvantages And Disadvantages Of Degree Inflation1524 Words   |  7 PagesIntroduction College, an academic milestone that every student strives to accomplish. While college has its advantages, it also has its disadvantages. Owing to that fact that college has a wide impact on society, it should not be exempt from criticism. There are alternatives to going to college, tuition is costly, and it can negatively affect health. So when choosing whether to attend college or go another route, until otherwise proven, students should not be forced to continue their education andRead MoreQuestions On Major Exploration Paper1600 Words   |  7 Pagessimilar aspirations for the future. We can either let our background draw us into an inescapable black hole or use it to thrive over any obstacle. For many minority students as myself, the shot at college is the only chance we truly get to overcome our situations. 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Swot Analysis - 1100 Words

ROYAL CARIBBEAN CRUISES SWOT Analysis SWOT ANALYSIS RCC is the second largest global operator of cruise ships and holds a market share of about 35% in the oligopolistic North American cruise market. The company may face a considerable decline in its earnings due to increasing fuel prices. Strengths Dominant business position Strong brand recognition Consistent increase in revenues Weaknesses Increasing expenses Low efficiency Inadequate presence in high growth European market Opportunities Favorable demographic trends Marketing alliances Improved cruise passenger traffic Threats Weather conditions Severe competition High fuel prices Strengths Dominant business position RCC is the second largest global operator of†¦show more content†¦Demographic trends favor the company’s growth in the coming years. Marketing alliances As the cruise ship industry continues to grow, there are increasing demands on cruise lines to provide more varied onboard services and visit more exotic harbors. Remodeled interiors and increased deck space are also required to keep ships competitive. The company has several brand partnerships that enhance the quality of its onboard services in terms of attracting customers. These brands include Johnny Rockets, Ben Jerry’s ice cream, Seattle’s Best Coffee and Cova Cafe Milano. There is an immense potential for the company to grow its revenues from onboard services through such marketing alliances. Improved cruise passenger traffic There has been a recovery in passenger traffic on cruise lines since 2003. Cruise lines carried 2.3 million passengers on North American cruises in the first quarter of 2004, reflecting a 13.6% increase compared to the same period in 2003. Increased consumer spending due to the economic recovery in the US is the main reason for improved traffic on cruise ships. The company is well poised to benefit from these favorable trends. 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SWOT analysis is a planning and brainstorming tool that helps people evaluate an idea or project for a business or formulate a business plan (Harmon, 2015). It should be noted that SWOT analysis is an acronym for Strengths, Weaknesses, OpportunitiesRead MoreSwot Analysis : Swot And Swot1081 Words   |  5 PagesSWOT Analysis: A SWOT analysis (SWOT matrix) first used by Stanford Research Institute during 1960-1970 and it was presented by Mr. Albert S. Humphrey a American business and management consultant by using data from fortune 500 companies. We can succeed in our life if we use our talents to our full extent. Similarly, we‘ll have some problems if we know our weakness are, and if we manage these weaknesses so that we don’t matter in the work we do. To understand more about our self and our externalRead MoreSwot Analysis : Swot And Swot2320 Words   |  10 PagesSWOT analysis focuses on the internal factors which are the company’s strengths and weaknesses as well as the external factors which are the opportunities and threats which are gained from situational analysis, which focuses on summarizing all the pertinent information acquired about the key three environments of internal, customer, and external (Ferrell Hartline, 2014, p. 39). A SWOT analysis further gives a company precise advantages and disadvantages in satisfying the needs of its selectedRead MoreSwot Analysis : A Swot1708 Words   |  7 Pages A SWOT analysis is â€Å"a structured planning method used to evaluate the strengths, weaknesses, opportunities and threats involved in a project or in a business venture.†(en.wikipedia.org/wiki/SWOT analysis, 03/11/14). A swot analysis can also be used to examine a person’s attributes. The strengths and weaknesses usually are internal factors whereas threats and opportunities are mainly external. Advantage Disadvantage Internal Strengths 1. Self-motivated 2. I am organised; accurate and pay attentionRead MoreSwot Analysis : A Swot852 Words   |  4 PagesStrength, weaknesses, opportunities and threats, commonly known as a SWOT analysis is used by businesses. Organizations use the SWOT analysis technique to figure out and understand their areas of strong suits (strengths), their inevitable flaws (weaknesses), prospects that the organization could look into (opportunities) and things that pose as intimidations to the organization (threats). There are many obstacles to overcome when it comes to international expansion. Obstacles such as; language andRead MoreSwot Analysis : Swot And Swot1957 Words   |  8 PagesSWOT analysis focuses on the internal factors which are the company’s strengths and weaknesses as well as the external factors which are the opportunities and threats which are gained from situational analysis which focuses on summarizing all the pertinent information acquired about the key three environments of internal , customer, and external (Ferrell Hartline, 2014, p. 39). A SWOT analysis further gives a company precise advantages and disadvantages in satisfying the needs of its selected marketsRead MoreSwot Analysis : The Swot1215 Words   |  5 PagesThe SWOT analysis was originally introduced by Andrews Christiansen, Guth and Learned in 1969 and its basic organizing principles have remained largely unchanged in the field of strategic management. [BADEN-FULLER, C. H. A. R. L. E. S., STOPFORD, J. (2002). The Firm Matters More than the Industry. Strategy for Business: A Reader, 123.] It is a systematic framework which helps managers to develop their business strategies by appraising their internal and external determinants of their organization’sRead MoreSwot Analysis : The Swot1888 Words   |  8 PagesThe SWOT analysis, a strategic planning tool was developed by Albert Humphrey in the 1960’s and 1970’s. Albert is said to have come up with this strategic planning tool through the use of data the Fortune 500 companies in the United States of America at that time (Lancaster Massingham, 2011). A SWOT analysis determines the strengths, weaknesses, opportunities and threats, which are a relevant part of any organization especially the ones that get involved in new ventures. This tool assists the users

Choose One of the Following Models of Psychosynthesis Free Essays

Choose one of the following models of psychosynthesis: (a) subpersonalities, (b) ‘I’ and the sense of identity, (c) the egg diagram. Discuss and critique its usefulness as a tool for understanding your own development and its possible application to clinical work. This essay will choose to discuss model (b) ‘I’ and the sense of identity, particularly in relation to the work of John Firman. We will write a custom essay sample on Choose One of the Following Models of Psychosynthesis or any similar topic only for you Order Now This essay aligns with the definitions of â€Å"I† and Self as outlined by Assagioli (1965), that â€Å"I† is one’s sense of personal self, the centre of our consciousness and will, and not to be confused with the psychological contents of consciousness. Assagioli recognized a powerful integrative principle acting within the human psyche – the Self, stating that â€Å"I† is a â€Å"projection† or â€Å"reflection† of Self, seeing Self as the Ground of Being, the luminous Source from which our being flows. I agree with Firman’s (1997) singular use of the term Self to refer to the entirety of â€Å"I†s deeper being. Through the process of psychosynthesis, Assagioli believed that the â€Å"I† could become freed up to establish itself as an autonomous centre serving the Self, and it is this â€Å"freeing up† of â€Å"I† from its surrounding â€Å"contents†, including its many constellations of personalities, known as subpersonalities in psychosynthesis, that can allow for a person’s authentic sense of identity to emerge. This essay will focus on the fundamental nature of empathy in psychosynthesis thought, as an inherent quality of â€Å"I†, with its source in Self, and how, through the emerging sense of my own sense of â€Å"I†, the development of my own personal centre, this psychological tool assisted in my understanding of my own development, and was in fact utterly key to it. I will then discuss and critique the â€Å"I†s possible application to clinical work, especially in relation to the importance of developing empathy. Empathy in this sense refers to the potential of â€Å"I† to be fundamentally loving towards all aspects of the personality (Firman and Gila 2007). This emergence of â€Å"I† may be seen as the heart of psychosynthesis therapy, and the pre-requisite for authentic self-expression in the world, as Assagioli affirms, â€Å"I am a living, loving, willing self† (Assagioli 1973, 156). It is precisely the ability of the therapist to provide an authentic unifying centre for the client that Assagioli emphasized as imperative to the development of personal identity, seeing such a unifying centre as â€Å"An indirect but true link, a point of connection between the personal man and his higher Self, which is reflected and seen in that object† (Assagioli 1965,25). Thus, the empathic, relational interaction with such an external unifying centre conditions the formation of an inner representation or model of that centre, which can be called an internal unifying centre. In this sense the inner centre becomes capable of fulfilling the same function as the external one. In psychosynthesis, the â€Å"I† is taken as the sense of identity with its roots in Self. Assagioli (1965) affirmed the essential unity of â€Å"I† and Self, but he was also careful to maintain a distinction between them, since â€Å"I† is one’s personal sense of self flowing from the more universal nature of Self. In psychosynthesis, it is this relationship, between â€Å"I† and Self, that forms the very ground of Self-realization, defined here as one’s sense of authentic relationship. Assagioli’s insight into the nature of personal identity, or â€Å"I†, is central to psychosynthesis thought, and he was also clear not to confuse such personal identity with organizations of psychological content. Rather he saw â€Å"I† as distinct but not separate from any contents of experience, from any and all processes or structures of the personality† (Firman Gila 2007, 9). One primary way Assagioli stressed to reveal the nature of â€Å"I†, was through introspection, an act of self-observation, attending to the ever arising contents of experience in consciousness. †¦the point of pure self-awareness (the â€Å"I†), is often confused with the conscious personality just described, but in reality it is quite different from it. This can be ascertained by the use of careful introspection. The changing contents of our consciousness (the sensations, thoughts, feelings, etc) are one thing, while the â€Å"I†, the self, the centre o f our consciousness is another. † (Assagioli, 1965, 18). Here, a clear distinction is made between one’s sense of identity and one’s personality, a central and profound distinction within psychosynthesis thought. I began my own personal journey with a great need to establish my own sense of identity. I had a very broken experience of self that many times led me into a crises of identity. It was through the practice of introspection, or self-attention, in the form of continuous attention to the consciousness â€Å"I†, or the inner feeling â€Å"I†, that I developed my own sense of self. In my teenage years, my sense of identity would constantly move through what was for me, a very fragmented terrain of personality, and I had a very fragile connection to an authentic centre of identity within my personality matrix. Through the process of self-attention, I was able to establish an authentic sense of identity. Once this sense of â€Å"I† had been established as a â€Å"good enough† sense of self within me, a process of self-empathy could develop as a result of this, providing me with an â€Å"internal holding environment† (Winnicot 1987, 34), of empathy and love, an internal unifying centre, a ground from which to include ever more of my experience, allowing me greater exploration of self, and a centre from which to form such experiences into creative expression in the world. This leads onto one of the most useful aspects of this model in my experience, which is the concept of disidentification, a necessary requisite of empathic love. This refers to the capacity of â€Å"I† to not get stuck in, identified with, any particular contents of experience, such as thoughts, feelings, sensations, subpersonalities, etc, but rather to be able to shift and move through them all (Firman Gila 2007). My personal practice of attention to the inner feeling â€Å"I† acted for me as an external unifying centre, that over time, coupled with my own therapeutic experience, became the internal holding environment of my own authentic sense of â€Å"I†. Through this psychosynthetic approach to identity, one may come to discover that one is not what one sees, that is the contents of consciousness, but rather, one is the seer themselves, the point of pure consciousness embodied within the various contents. Through this capacity of the â€Å"I† to be distinct but not separate from such contents of consciousness, the possibility of self-empathy may be born, whereby one learns to enter into a relationship with all parts of oneself, experiencing each, without losing one’s inherent sense of identity. This was of invaluable use to me in my development as it allowed me to find an anchor as it were, a point of stability, within an ever changing flow of experience. And for me, it was this process of disidentification that allowed me to disentangle myself from â€Å"survival personality† (Firman Gila 1997), that defensive part of me that had formed as a result of not being â€Å"seen† and validated as an â€Å"I† when I was a child, due to what self-psychology calls â€Å"empathic failures† in my early holding environment. In my case this was due to a mother who â€Å"saw† me through a projection of her own self thus resulting in my own core essence not â€Å"being seen†. This led to deep â€Å"primal wounding† in me, and from this it becomes clear how Assagioli’s â€Å"introspection† may serve as part of what can heal such â€Å"primal wounding,† which Firman and Gila define as â€Å"an experienced disruption in the empathic mirroring relationship between the personal self or â€Å"I† and Self† (Firman Gila 1997, 89). This may allow for a sense of continuity of being to be established, since the I-Self connection is that essential empathic connection, hinting at the relational source of human being. In my experience, one of the potential dangers of this model is that the concept of â€Å"I† may be taken literally, as a thought, rather than as a person’s authentic experiential centre of being. Here, a danger is that the tool of disidentification could act as a further form of dissociation rather than allowing space for the deeper vulnerabilities of the personality. For me, this manifested in that I would identify with the pure â€Å"I† as a single and specific mode of experience that rendered other modes remote, becoming a further aspect of my â€Å"survival personality†. However, since disidentification has been defined as â€Å"simple, introspective, self-empathic witnessing†¦. founded in the transcendence-immanence of â€Å"I† – the ability of â€Å"I† to be distinct, but not separate from the contents of awareness. † (Firman Gila, 1977, 56), it is identification, and not disidentification that is the dynamic underlying dissociation. It is important here to bring in the concept of subpersonalities, that may be defined as the â€Å"many constellations of thought, each composing an identity† (Ram Dass, cited in Firman Gila 1977,63), since the theoretical istinction between one’s authentic sense of identity and the many â€Å"subpersonal† identities is essential in psychosynthesis. Firman Russel (1994) use the concept of â€Å"authentic personality† when referring to this â€Å"empathic reaching† within oneself to realize the authentic, whole expression of one’s essential na ture or â€Å"I-amness†, which they argue is akin to the true â€Å"inner child†; and they distinguish between what they call one’s true personality â€Å"core†, and the varying â€Å"ego-states† or subpersonalities. Psychosynthesis therapy is able to provide a powerful environment of support and nurturance for the emerging sense of a client’s authentic â€Å"I-amness†, allowing for the client’s self-expression to begin to express their â€Å"true nature†, rather than their sense of identity and self-expression being based on an unconscious attempt at self-defence. So these ideas are very useful in relation to understanding how a person’s authentic sense of â€Å"I† or identity can become enmeshed in â€Å"survival personality† due to childhood wounding, and how, through the therapeutic experience of an â€Å"authentic unifying centre†, and a â€Å"holding environment† that fosters authentic, spontaneous expression of self rather than defensive focus on survival, the emergence of authentic â€Å"I† may emerge as the central feature of a person’s personality and identity, potentially allowing them a more creative and authentic life in the world. The point here is that identity is relational, and not an isolated event, and thus, a clinical setting may provide a holding environment that may allow for a â€Å"good enough† healing of a person’s I-Self connection to allow for enough personal continuity of being, begetting a stronger path of self-actualization. In my experience, my own therapist provided me with an external unifying centre that has continued to be a powerful centre for me and my journey into authentic relationship (Self-realization). My own psychotherapy became for me my first relational experience that allowed me to feel â€Å"seen†. â€Å"When I look, I am seen, therefore I exist. † (Winnicot, 1988b, 134), and thus begun my work of personal psychosynthesis with grounded and self-actualizing potency. For me, I realized that my true work lay in the mastery and integration of my total being â€Å"around the unifying centre of the â€Å"I†Ã¢â‚¬  (Assagioli, 1965, 51). Chris Meriam (1996) makes it clear, as already discussed, that the first principle of empathic enquiry, applied to ourselves, is our willing exploration of our subjective world as a way of understanding that world, holding ourselves as â€Å"I† distinct but not separate from all that we encounter. â€Å"When we relate to ourselves in this way – simultaneously transcending and engaging the vast array of psychological content†¦we become more deeply self-understanding, self-empathic† (Chris Meriam 1996, 18). Applying this to a clinical setting, Meriam speaks of the inner world of the client being engaged in much the same way allowing for the emergence of their own â€Å"I† and authentic sense of identity. In this sense, the therapist remains distinct but not separate from the client’s world, also taking the same stance towards the clients â€Å"issues†. It is referring to this capacity of empathic â€Å"I† that Firman Gila (2007) speak of â€Å"I† as â€Å"transcendent-immanent†. This ability to â€Å"hold† the client in their â€Å"I-amness† allows them the opportunity for empathic engagement with â€Å"any and all† of their subjective experience. Thus, the emerging sense of empathic â€Å"I† that is given possibility through psychosynthesis therapy, allows a client to bring to awareness unconscious identifications that may be functional within their psychological patterning, constricting their consciousness and inhibiting their growth. In this vein, Assagioli writes, â€Å"We are dominated by everything with which our self becomes identified† (Assagioli 1965, 22). Here Assagioli is speaking of unconscious identification where we have become â€Å"captured† by our subjective world rather than standing in a â€Å"free† position to it. So the empathic â€Å"I† or personal self of the therapist allows the therapist to offer interventions based on an emerging understanding of the client’s subjective world as an interpenetrating mixture of higher, middle, and lower unconscious material â€Å"-of personal and transpersonal activities and states of awareness-all underscored and held together by a deeper empathic Self. (Chris Meriam 1996, 16) Here again, it is worth noting the potential danger of an individual misusing the idea of transcendence as a form of â€Å"spiritual bypassing† (Firman Gila 2007) of certain unwanted identifications or more â€Å"difficult† psychological content, thusly ignoring the deeper â€Å"transcendent-immanent† capacity of empathic â€Å"I† to engage in the full expl oration of subjective experience. It is to be aware that withdrawal from psychological content as a form of avoidance is dissociating from the very ground of empathic relationship, and thus, authentic personal sense of identity is â€Å"disconnected†. However, within proper use of empathic â€Å"I† is held the tremendous potential that can be offered through the clinical setting in relation to the development of a person’s â€Å"I† and sense of identity. Here, as Chris Meriam (1996) notes, not only is â€Å"I† inherently of empathic nature, but also includes qualities of observation and awareness, responsibility, power, and choice. â€Å"I† has consciousness and will. These potentialities of â€Å"I†, ever in line with true psychosynthesis, allow for the possibility of an ever deepening sense of identity and self-knowledge, an ever deepening degree of self-realization, and an ever widening field of authentic self-actualization, as one learns to express oneself with, and be guided by, integrity and creative self-expression in the world. In conclusion, it is clear how utterly central the â€Å"I† and sense of identity are to psychosynthesis and psychosynthesis therapy. In my own case, the profound insight into â€Å"I† underpinned my connection not only to my own inner and authentic sense of self, helping me distinguish between â€Å"I† and my â€Å"community of selves†, but also how it also lay down the foundations of my authentic relational experience with others. In this light, I feel that one of the major aspects of this model, is the understanding of the I-Self relationship as â€Å"containing† the very source of empathy, and thereby situating the very â€Å"heart† and â€Å"core† of personal identity as an empathic and relational experience, rather than an isolated event of personal liberation independent and detached from the relational field altogether, as posed by so many traditional spiritual paths. Also, through â€Å"I†s empathic presence in a clinical setting, and with applied echniques such as personal â€Å"introspection†, psychosynthesis therapy may allow for an ever more authentic and emerging sense of self within the client. Here the main point brought forth is that the psychosynthetic, psychotherapeutic relationship â€Å"works†, fundamentally, because of its allowance and nurturing of the clients emerging sense of empathic â€Å"I†, ultimately fostering the development of an in ternal unifying centre and the subsequent development of authentic personality. Taking this further, we might conclude that empathy is the key to understanding our connection to all forms of life and all existence. We may even have a keen sense that everything from the tiniest particle of sand to the most distant star is held together in empathic wholeness. † (Chris Meriam 1965, 23) Thus, may â€Å"I† offer not only one’s authentic sense of identity, but â€Å"I† may also be the very point of relational connection itself, and the very heart of communion with All-That-Is. How to cite Choose One of the Following Models of Psychosynthesis, Essay examples

Plot Essay Summary Example For Students

Plot Essay Summary This whole book was a sequel to My Side of the Mountain. It was basically about Sam and Alice Gribley, who are siblings, one year later. It started out as Sam thinking about how much he likes living on the Catskill Mountains in the wilderness with his peregrine falcon, Frightful, and Alice living nearby in a tree house.Then a man who is claiming to be a conservation officer, named Leon Longbridge, took away Frightful. Mr. Leon Longbridge said that it was against the law to raise and have possession of a falcon or hawk. After a mopping for a while, he noticed that he hasnt seen Alice for five days now, he begins to worry. Sam and Bando go after Alice. Sam finds Alice and Frightful at the end of the story. He then does the unthinkable and releases Frightful into the wild, so she can breed and raise young of her own. Main CharacterI would probably cast Elijah Wood for Sam Gribleys character. The reason why is because he kind of looks like the boy on the cover of the book and also he looks like a guy who could get into the part of playing Sam. Sam is kind of a laid back type of guy and Elijah has played many movie roles as laid back or relaxed characters. Alice Gribley should probably be played by Kristen Dunst. One reason is because she is good at being stubborn in a character, for example like her role in the movie Interview With the Vampire. She could probably get into the role of bush wacking in the woods. EvaluationThis book held my interest in only a few parts. For example, in this book it talked about a lot of stuff about what kind of plants he ate, what he built, how he built it, etc. That didnt really hold my interest that much in the book or the story. I dont really think that kind of information would hold the interest of young adults. The author wrote about a lot of things about how to identify tracks, compass roses, sundials, water mills, plumping mills, I mean what kind of teenager would want to read about that. (No offense to the author, Jean Craighead George). There were also some good points in the book. The thing I liked was how Alice just did what she wanted and really put her mind to it, it kind of made me think of Girl Power. I proved in the story that she didnt care what Sam told her to do, it was what she wanted to do that counts. If I had to give an award for this story, I would give it a Boring Award. It was hard for me to try not to fall asleep.