Personal Statement Bass Co Essay - 1572 Words

You know that time when your parents start making you pay for your own stuff? Well, I have reached that time, and so what do I do? The obvious answer is to get a job. So I walked over to the outlets across from my house, and started asking for job applications. After all the application and interview process, I landed with a job at G.H. Bass Co, a retail store that’s devoted to selling shoes. I become a sale associate, but it wasn’t until after I fully explored and learned about the logos, pathos, and ethos, did I entirely immerse myself into the discourse community. Some may ask why is that important? Or how does this experience contribute to anything? Well, everyone eventually needs to sustain themselves by getting a job, and most job positions also belong to a team, thus it is important to have the skill sets that allow oneself to join a discourse community. This does not only limit to career opportunities, but also include clubs, sports, and other academic discours e communities. During the time I worked at G.H. Bass Co, I was able to learn all the language and skills necessary to be a sales associate. Furthermore, I was able to fully understand the values that all the members shared, thus also mastering the ethos of the community. Lastly, I transitioned from an outsider to an insider when I built up my character and reputation in the job. That’s when I am really considered an expert in my field, and entered the discourse community successfully. Terminologies wereShow MoreRelatedCompare and Contrast Any Two Theories of Leadership Essay1515 Words   |  7 Pagesterms are interchangeable as they both rely on the application of influence to get a workforce to commit to accomplishing a given task. From Adairs statement it could be argued that they are different descriptions of the same thing. Transactional leadership relies on the workers behaviour being influenced by means of reward by the leader. There is co-dependency between the leader and the worker, one has to offer the other something for a desired outcome. A real life example of transactional leadershipRead MoreEssay on Paramore Bio: A Great Band with Musical Talents1090 Words   |  5 PagesJeremy Davis. John Janick, CEO and co-founder of the â€Å"Fueled by Ramen†, a Florida-based recording label with a strong emo-pop and alternative rock acts, was amazed by their sound and decided to go to one of their live performances in Orlando, Florida, to see them playing live. After he saw these young musical talents, John invited them for a smaller private performance where he said he wanted to sign them. To help attract a younger audience, Atlantic decided to co-sign the band with Fueled by RamenRead MoreImplementing Multicultural Education Essay1113 Words   |  5 Pagesunited† (64). Another critic who considers multicultural education as separatist states that â€Å"to dwell on cultural differences is to foster negative stereotypes, and that it is human nature to view those who are different as inferiorâ₠¬  (Edchange). This statement truly enforces the notion that it is better to fear the unknown rather than learning about it and finding a way to accept it. It also can make students believe that having a superiority attitude about learning about other cultures. Glazer arguesRead MoreFunctions Of An Arts Manager2590 Words   |  11 PagesMany management theorists both contemporary and traditional have a diverse understanding of leadership theories, though one leadership theorist Bernard M. Bass transformed many current managers leadership style, in particular arts managers and how they approached leadership in management through Bass’s Transformational leadership theory. The Bass transformational leadership theory assumes that the awareness of task importance and a focus on team or organisations produces motivates individuals to enhanceRead MoreMgt 307 Final Exams1718 Words   |  7 PagesCommon forms of unintentional ethics lapses that individuals should guard against include all of the following EXCEPT: A. favoring others who can benefit someone. B. promoting people who excel in their respective positions. C. claiming too much personal credit for one s performance contributions. D. prejudice that derives from unconscious stereotypes and attitudes. 9) When it comes to ethics and morality, scholar Archie B. Carroll draws a distinction between __________. A. immoral managersRead MoreThe Public Housing Authority Of Singapore1461 Words   |  6 Pagespropose that she be designated the Change Leader in EAPD (Jick Peiperl, p. 434). Tan reflected on the changes she wanted to see implemented within EAPD. A first step was to draft a new mission statement for the department that would be consistent with HDB’s new vision. The new mission statement needed to focus on the department, its core competencies, its human capital, and customer service excellence. Tan’s goal was to â€Å"face head-on the major changes that need to be made at HDB.† Tan focusedRead More Religion and Prayer in Public Schools Essay1469 Words   |  6 Pagesto public schools. The religion clause of the First Amendment is often misinterpreted to mean that absolutely no religious expressions or activities can take pl ace in public schools. Richard W. Riley, U.S. Secretary of Education, published a statement in 1995 detailing the principles of the extent to which religious expression and activity are permitted in public schools. He stated that the First Amendment con tains two equally important obligations of public schoo l officials in their dealingsRead MoreCritique of Transformational Transactional Leadership1806 Words   |  8 Pageshave come up to explain the difference that alienates one from the other, both theories juxtapose one another in such a way that one theory leans towards the other at the end and both leaders want same thing from the employee: optimum performance. Bass et al, 1999 argues that â€Å"to be truly transformational, leadership must be grounded in moral foundations†. Wren et 1998 also believe the â€Å"ethics of transformational leadership rests upon three pillars; the moral character of the leader, the ethicalRead MoreNorth Country3742 Words   |  15 Pagesprior), and didnt care to show them much respect. However, as Aimes found herself the growing target of sexist jokes and abhorrent behavior, she found that many of her female co-workers were reluctant to stand beside her, afraid of losing a good-paying job at a time when they were increasingly hard to find. But as a personal crisis became a public war of words, Aimes became the center of a nationwide controversy when she attempted to file a class action sexual harassment suit against the mine ownersRead MoreEssay on Why People Join Cults1480 Words   |  6 PagesCULTS I. Introduction Thesis: The forces that draw individuals into cults can be explained by psychological doctrine. II. What is a cult A. Brief description B. Types of cults 1. religious 2. psychotherapy or personal growth 3. political 4. popular or faddist III. Popular cult groups A. Peoples Temple B. David Koresh C. Heavens Gate D. The Family IV. Charismatic group A. Brief desciption B. Characterization V. Sigmund Freuds beliefs A. Belonging to a group

The Effects Of Violent Media On Children And Youth

Essentially since media is more violent than ever, and children and youth are getting more attracted to violent media. Studies on violent media shows a clear evidence that violence on media rises the possibility of aggressive behaviors in both short-term and long-term situations (Rowell Huesmann, Moise, Podolski, Eron, 2003). Most researchers agree that aggressive behaviors are more disposed to the harmful impact of violence on media. The negative effect is much larger for younger children because they are not able to to differentiate the imaginary from reality. In addition, Bushman (1995) argued that only particular type of children and youth were negatively influenced by violent media these are labelled as high aggressive personalities. Aggressive-minded individuals fascinate by aggression more than non- aggressive personalites. Children who heavily exposure to violent media are more likely to act in an aggressive way toward others. Violent media is a risk factor that put childre n and youth in a high risk of developing aggressive behaviors that may last into their adulthood (Rowell Huesmann, Moise, Podolski, Eron, (2003). Therefore, parents have wanted to understand the negative impact of violent media, particularly on children, adolescents, and youth. Thus, this paper underlines some negative effects of violent media on individuals. Literature Review Regarding the harmful influence of violent media on behaviors, researches have shown that individuals whoShow MoreRelatedMedia s Influence On The Youth Of America1454 Words   |  6 PagesMedia in the United States has a prominent role on the youth of America. A majority of children and young adults have access to internet, television, radio, newspapers, and video games practically any time they want. The violence in media, along with the availability of media are increasing, however the most predominant form of media for children is video games. Because of this, many are concerned with the effects on the youth. The violence in video games is a cause for aggressive emotions, thoughtsRead MoreViolent Media And The Aggressive Generation1116 Words   |  5 PagesMatthew Taylor Ms. Cowburn AP Language 12 June 2017 Violent Media and The Aggressive Generation It Has Established The creation of visual and active forms of media has caused debate and discussion over the effects it has on the brain. The effects of media on the brain are of concern regarding children specifically, as their minds are still developing. Questions of the severity and impact have intrigued parents, scientists, and lawmakers. The first committee on this issue, the Surgeon GeneralsRead MoreEssay about Media Violence1541 Words   |  7 Pageshistory. Many researchers believe that the use of violent media, particularly video games, play a huge role in the downward trend of behavior and attitude of youth, and that this behavior continues to spiral out of control. However, other researchers believe that since violence has been occurring since the beginning of time, that adolescence are as capable today of violence, as they were a thousand years ago. Research has been found to link violent maladaptive behavior to the use of video gamesRead MoreThe Effects Of Violent Media On Aggressive Behavior1590 Words   |  7 Pagescorrlation between violent media and aggressive behaviors in individuals. This paper represents an effort to provide a source for individuals who are interested to gain information on the effect of violent media on aggressive behaviors. Most of the peer-reviewed and scholary articles used in this paper provided conclusions that violent media have multiply harmful affects on individuals especially children. Krahà © and Mà ¶ller (2011) discussed the relationship between usage of violent media and aggressiveRead More Children, Media, and Violence Essay1431 Words   |  6 Pagesagainst it, the link between media violence and teen violence is like arguing against gravity, said Jeffrey McIntyre, legislative and federal affairs officer for the American Psychological Association. As children are exposed to acts of violence in the media through television, video games, music, movies, e tc. alarming results are occurring. The main negative effect being an increase in aggression among youth who are regularly exposed to the media and an increase in violent patterns as they mature intoRead MoreThe Effects of Violent Video Games on the Young1575 Words   |  6 Pagesrock and roll music could have on their children. Much like the bad reputation rock and roll music received in the 1950’s, violent video games have been questioned and looked down upon as a newer form of influential media. Violent video games have been blamed for bullying, school shootings, increasing rape, and increasing the amount of women being abused. Despite the popular belief that video games can be very harmful to a child’s mind and cause violent behavior, video games don’t cause as muchRead MoreMedia Violence and Its Effect on Children Essay1112 Words   |  5 Pagespopularity of violent video games and television programs. However, as these violent video games and televis ion shows are creating their own place in our society, the reports of violence among children are escalating. This correlation has been studied extensively in the scientific community in an attempt to discover whether media violence does negatively impact children but there has yet to be a consensus. There is a split between those that believe that children are becoming more violent because theyRead MoreTelevision Is Destroying Todays Youth, but Dont Blame T.V., Blame the Parents.1302 Words   |  6 PagesEver since television was invented, it has become increasingly controversial every year since. So many programs and movies shown on television have become increasingly violent and show sexual innuendos and sexual content. If you were to turn on the six o clock news, you would hear about the murders and the kidnappings and the rapes and all of the horrible things which happen in society, presented in a neutral manner which makes them all seem not quite so bad. Imagine how that l ooks to twelveRead MoreVideo Games And Violent Violence1345 Words   |  6 Pages On television, iPads, cell phones, and even specially made devices for babies and children. Video games are interwoven with our daily lives. For many, it is just an innocent way to relax or enjoy themselves. For others, it has become an addiction in which they cannot escape. Not all video games are violent, but what about those that are? Does society have an obligation to monitor every type of video game children and adults play simply because they believe it may lead to acts of violence? PsychologistsRead MoreEffects Of Media Violence On Society888 Words   |  4 PagesEffects of Media on Society Media violence has numerous negative consequences on youth today to commit criminal acts in the society. Violence in the media will never be stopped as long as the society spends more time on violent movies and video games. Media violence has been tremendously growing and attaining the hazardous extents. Around 60 % of TV shows contain some kind of violence. Most self-involving video games contain some violent matter in it. For example, if you manufacture guns, you do

Aestheticism and Morality in Oscar Wilde free essay sample

The Conflict Between Aestheticism and Morality in Oscar Wilde’s The Picture of Dorian Gray Oscar Wilde prefaces his novel, The Picture of Dorian Gray, with a reflection on art, the artist, and the utility of both. After careful scrutiny, he concludes: â€Å"All art is quite useless† (Wilde 4). In this one sentence, Wilde encapsulates the complete principles of the Aesthetic Movement popular in Victorian England. That is to say, real art takes no part in molding the social or moral identities of society, nor should it. Art should be beautiful and pleasure its observer, but to imply further-reaching influence would be a mistake. The explosion of aesthetic philosophy in fin-de-siecle English society, as exemplified by Oscar Wilde, was not confined to merely art, however. Rather, the proponents of this philosophy extended it to life itself. Here, aestheticism advocated whatever behavior was likely to maximize the beauty and happiness in one’s life, in the tradition of hedonism. To the aesthete, the ideal life mimics art; it is beautiful, but quite useless beyond its beauty, concerned only with the individual living it. Influences on others, if existent, are trivial at best. Many have read The Picture of Dorian Gray as a novelized sponsor for just this sort of aesthetic lifestyle. However, this story of the rise and fall of Dorian Gray might instead represent an allegory about morality meant to critique, rather than endorse, the obeying of one’s impulses as thoughtlessly and dutifully as aestheticism dictates. In the novel, Lord Henry Wotton trumpets the aesthetic philosophy with an elegance and bravado that persuade Dorian to trust in the principles he espouses; the reader is often similarly captivated. It would be a mistake, however, to interpret the novel as a patent recommendation of aestheticism. To the aesthete, there is no distinction between moral and immoral acts, only between those that increase or decrease one’s happiness; yet, Dorian Gray refutes this idea, presenting a strong case for the inherent immorality of purely aesthetic lives. Dorian Gray personifies the aesthetic lifestyle in action, pursuing personal gratification with abandon. Yet, while he enjoys these indulgences, his behavior ultimately kills him and others, and he dies unhappier than ever. Rather than an advocate for ure aestheticism, then, Dorian Gray is a cautionary tale in which Wilde illustrates the dangers of the aesthetic philosophy when not practiced with prudence. Aestheticism, argues Wilde, too often aligns itself with immorality, resulting in a precarious philosophy that must be practiced deliberately. Dorian Gray is often read as an explicit proclamation of the worthiness of living life i n accordance with aesthetic values. This is due in part to the flourishing Aesthetic Movement of Victorian England at the time of the novel’s publication, as well as Oscar Wilde’s association with the movement itself (Becker 660). The Aesthetic Movement, which coincided with the Industrial Revolution at the end of the nineteenth century, emphasized the artistic aspect of a man’s work in producing a variety of goods, from furniture to machines to literature (Becker 660). Oscar Wilde, however, proposed that the principles of the Aesthetic Movement extend beyond the production of mere commodities. In Joseph Pearce’s biography, The Unmasking of Oscar Wilde, Pearce recalls Wilde’s own perspective on the popular movement. Speaking of aestheticism, Wilde is quoted: It is indeed to become a part of the people’s life . . . I mean a man who works with his hands; and not with his hands merely, but with his head and his heart. The evil that machinery is doing is not merely in the consequence of its work but in the fact that it makes men themselves machines also. Whereas, we wish them to be artists, that is to say men†. (qtd. in Pearce 144) In his exposition of aestheticism, Wilde applies the philosophy in a more universal sense, stressing the positive influences of aestheticism in one’s life beyond mere craftsmanship. Just as the machines that mass-produce materials with the intervention of human thought are labeled â€Å"evil,† Wilde similarly condemns men who act as metaphorical machines, programmed to behave in accordance with society’s ideas of propriety rather than allowing themselves to act freely and achieve the greatest amount of happiness. Wilde’s eloquent advocacy of an aesthetic lifestyle is paralleled in his depiction of Lord Henry in Dorian Gray. Lord Henry lectured to the impressionable Dorian, â€Å"We are punished for our refusals. Every impulse that we strive to strangle broods in the mind, and poisons us. . . . Resist it, and your soul grows sick with longing for the things it has forbidden itself† (Wilde 9). Wilde, through Lord Henry, laments the stifling nature of his contemporary Victorian society and how the supposed morality it boasts necessitates self-denial and rejection of life’s most beautiful aspects. Lord Henry warns that without an enthusiastic embrace of aestheticism, one will perpetually anguish with the desire of precisely what he must deny himself, all for the sake of propriety. This philosophy espoused by Wilde and Lord Henry often leads, not surprisingly, to the conclusion that Dorian Gray is a declaration of Wilde’s, promoting the adoption of purely aesthetic lives without qualification. This, however, is too shallow of an interpretation. Opponents of a purely aesthetic lifestyle will certainly cite what they consider an inevitability: one’s desires and impulses, though when acted upon result in a more pleasurable life, will at times be undeniably immoral. It is at these times that the virtues of the wholly aesthetic life become questionable. The ruination of Dorian Gray, the embodiment of unbridled aestheticism, illustrates the immorality of such a lifestyle and gravely demonstrates its consequences. Wilde uses Dorian Gray not as an advertisement for aestheticism, but rather, he uses Dorian’s life to warn against aestheticism’s hostility toward morality when uncontrolled. Wilde himself admits, in a letter to the St. James’s Gazette, that Dorian Gray â€Å"is a story with a moral. And the moral is this: All excess, as well as all renunciation, brings its own punishment† (Wilde 248). Aestheticism does well to condemn the renunciation of desires, but it is an excessive obedience to these desires that is subversively dangerous. Therefore, in the practice of Wilde’s aestheticism, forethought and constraint are necessities, yet too often lacking, and without them, one is doomed to suffer the same fate as Dorian Gray. The character of Dorian Gray and the story of his profound degeneration provide a case study examining the viability of purely aesthetic lives. Dorian lives according to what Lord Henry professes without hesitation, and what Lord Henry inspires Dorian, through persuasive rhetoric, is an attitude indifferent to consequence and altogether amoral. As Wilde writes, Dorian’s newfound position is â€Å"never to accept any theory or system that would involve the sacrifice of any mode of passionate experience. Its aim, indeed was to be experience itself, and not the fruits of experience, sweet or bitter as they may be† (Wilde 125). Under Lord Henry’s mentorship, Dorian, once the epitome of wide-eyed youth, behaves with no regard for the ramifications of his actions, diligently pursuing instant gratification without thought of its implications, whether they be â€Å"sweet or bitter. † Dorian’s relationship with the actress Sibyl Vane plainly illustrates this marked change in personality. Dorian pursues Sibyl from first sights, intent on acquiring her before he ever attempts to truly know her. Indeed, Dorian’s love for Sibyl is overtly superficial, as evidenced by Dorian’s own description of his infatuation with Sibyl: â€Å"I loved you because you were marvelous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art† (Wilde 101). Dorian is not attracted to Sibyl’s character of personality, but rather her acting talent and enthralling performances; this is what enchants the aesthetically inclined Dorian. When Sibyl leaves the stage, then, she no longer serves a purpose in Dorian’s aesthetic life, and thus, Dorian abandons her unceremoniously. Dorian does not regret informing Sybil that, â€Å"Without your art, you are nothing† (Wilde 101). The tragedy of Sybil’s later suicide, brought about by utter despair at her desertion, is lost on Dorian, who instead enjoys the dramatic intrigue of the occasion. For Dorian, whose uncontrolled aestheticism rejects the concept of morality, the immorality of his actions goes unrecognized. In fact, Dorian declares excitedly, â€Å"It seems to me to be simply like a wonderful ending to a wonderful play. It has all the terrible beauty of a Greek tragedy, a tragedy in which I took a great part, but by which I have not been wounded† (Wilde 114). Here, the adverse consequences of aestheticism surface in Dorian’s life. In his pursuit of his own pleasures, a distinctly narcissistic attitude emerges, and the incompatibility of morality and unconditional aestheticism becomes all the more apparent. The emergence of narcissism in Dorian and its correlation with his newly adopted aesthetic philosophy is integral to Wilde’s novel as it emphasizes the frequent hostility between aestheticism and morality that Wilde cautions against. Dorian Gray exposes the immorality of self-absorption, as Dorian’s portrait becomes more disfigured with each one of Dorian’s selfish acts. This self-absorption, then, appears to be an inevitable consequence of aestheticism. Only a more deliberate practice of aestheticism may harness this egotism and avoid the immorality Dorian embodies. Interestingly, in his essay â€Å"Come See About Me: Enchantment of the Double in The Picture of Dorian Gray,† Christopher Craft recognizes a mirroring of the Greek myth of Narcissus in the life of Dorian Gray. According to mythology, Narcissus, upon catching a glimpse of his reflection in a pool, becomes so enraptured by it that he stood and admired it endlessly, unmoving for the rest of his life. As Craft notes, this self-absorption â€Å"is a commitment that, like Dorian’s, graduates fully until death† (Craft 113). Narcissus becomes so infatuated with himself that the rest of world effectively ceases to exist or affect him and, as Craft argues, â€Å"it is into precisely this silent delirium that Dorian unwittingly steps† when he allows Lord Henry’s aesthetic philosophy to so dominate him (Craft 113). Dorian enjoys a life of eternal youth, with only his portrait aging in parallel with Dorian’s immorality; so, as Dorian sinks into the depths of narcissism, he maintains his external beauty, and his portrait degenerates instead. Eventually, as in the myth of Narcissus, such egotism has its consequences. When Dorian, disgusted with the decrepit picture of the supposedly â€Å"real† him, destroys it in a fit of anger, Dorian too is destroyed. Wilde writes that after Dorian’s death, â€Å"it was not till they had examined the rings that they recognized who it was† (Wilde 220). In the end, as a testament to the purely aesthetic life, the only legacy Dorian leaves behind—everything that identifies him as who he was—is his superficial jewelry. There is an argument, then, made by Wilde for a new aestheticism, approached with more constraint than Dorian employs. This argument is based not only in the moral obligation of the individual, but with the betterment of all of society in mind. Matthew Arnold, in his essay â€Å"Culture and Anarchy,† provides reasoning against the ethos of Lord Henry’s aestheticism and an unconditional application of it. Arnold focuses on its detrimental effects on society and the possibility for societal improvement when aesthetic tendencies are properly controlled. There appears to be agreement, then, between Wilde and Arnold; Wilde’ novel provides a failed example of the purely aesthetic life, and when scaled to a larger society, a similar result is understandably expected. As Arnold views his contemporary society, it is arranged hierarchically, dividing the aristocrats, the middle-class, and the working-class, all of which, Arnold laments, are inclined to live hedonistically, pursuing pleasure and only what is comfortable and easy. Dorian Gray embodies just his defect in Arnold’s society. Arnold argues, however, that â€Å"there are born a certain number of natures with a curiosity about their best self with a bend for seeing things as they are . . . for simply concerning themselves with reason and the will of God, and doing their best to make these prevail;—for the pursuit, in a word, of perfection† (Arnold 277). Arnold is optimistic that some may pursue beyond the immediately pleasurable and act to perfect themselves both morally and intellectually. This pursuit of perfection, however, is likely an arduous and uncomfortable task, and is therefore incompatible with pure aestheticism. Some concessions must be made for the absolute aesthete, then, for such transcendence occur. Dorian Gray, for much of Wilde’s novel, fails to embody Arnold’s ideal, as in his hedonistic life he is seen â€Å"creeping at dawn out of dreadful houses and slinking in disguise in the foulest dens in London,† despite being once too honorable for such debauchery (Wilde 118). Dorian exemplifies a regression in social intellect from his beginnings rather than the kind of transcendence hoped for by Arnold. Dorian displays no such pursuit of intellectual perfection as he is slowly corrupted and in turn corrupts others, luring them with him into the slums and opium dens of London. Arnold refers to those able to transcend social classes in society as â€Å"aliens,† hinting at their rarity to the point of foreignness and to their almost mythical quality (277). The mere existence of these aliens, however, provides hope that the utter hedonists of society may learn to harness their damaging tendencies, and in doing so, better the intellectual and moral state of humankind. Wilde, too, recognizes this ability to control the hedonistic temptations associated with aestheticism, as demonstrated by the last stages of Dorian’s life. Mitsuharu Matsuoka, in his essay â€Å"Aestheticism and Social Anxiety in The Picture of Dorian Gray,† notes that, as Dorian’s death approaches, â€Å"Dorian ultimately reacts against his lifestyle, choking on his New Hedonism,† at which point â€Å"a great sense of doom hangs over Dorian† (Matsuoka 78). Indeed, Dorian appears to realize the consequences of his unbridled aestheticism; however, he is much too far gone to salvage. Dorian reveals his epiphany to Lord Henry: â€Å"The soul is a terrible reality. It can be bought, and sold, and bartered away. It can be poisoned or made perfect. There is a soul in each one of us. I know it† (Wilde 211). Unfortunately for Dorian, this realization comes too late to save his soul from its degradation, long-nurtured by a purely aesthetic life, and he is destroyed. The realization itself, however, is indicative of Wilde’s argument woven throughout Dorian Gray. Despite Wilde’s publicly advocating the principles of aestheticism, Dorian’s demise illustrates Wilde’s recognition that aestheticism needs to be properly controlled. While the pursuit of beauty and happiness in life is always Wilde’s ideal, he also implies that the consequences of one’s actions must be thought out and the impact of one’s decisions, beyond oneself, must also be carefully considered before acting on any impulse. The Aesthetic Movement in fin-de-siecle England, as interpreted by Oscar Wilde, revolved around the ideal that the utility of one’s actions should be to create the maximal amount of beauty and pleasure in one’s life, and nothing more. Wilde’s Dorian Gray appears, at first glance, to promote this philosophy unequivocally. Indeed, a lifestyle based on this aestheticism is espoused in Wilde’s opening preface as well as throughout Lord Henry’s professorial lectures. Upon closer inspection, however, Wilde’s novel is not as wholly embracing of aestheticism as this implies. Wilde realized and depicted in the life of Dorian Gray, a need for a more controlled and deliberate approach to aestheticism, without which morality will inevitably be elusive. The adoption of unrestrained aestheticism, as exhibited by Dorian, results in a lack of remorse, self-absorption, and intellectual regression.

John Steinbeck Development And Portrayal Of His Characters Essays

John Steinbeck: Development and Portrayal of His Characters "And George raised the gun and steadied it, and he brought the muzzle of it close to the back of Lennie's head. The hand shook violently, but his face set and his hand steadied. He pulled the trigger. The crash of the shot rolled up the hills and rolled down again. Lennie jarred, and then settled slowly forward to the sand and he lay without quivering. George shivered and looked at the gun and then he threw it from him, back up on the bank, near the pile of old ashes." This excerpt from and the climax of Steinbeck's Of Mice and Men is one which demonstrates the complexity and power of a moral and social force over an ordinary man. Throughout Steinbeck's novels and stories, he generally portrayed working-class characters who were controlled or manipulated by forces beyond their understanding or control. He isn't saying that an ordinary person does not have a chance but is stating that people or rather the lives of people can be influenced, thereby shaping the outcome ! of their life whether for the better or the worse, by circumstances over which they have limited knowledge or control. For example in Cannery Row an enemy that Steinbeck attacks is a destructive force, one which manipulates people into acting a certain way to attain a sense of security by disregarding feelings for others (French 120). By analyzing Steinbeck's writing style and influences on it, forces and themes present in his writing, and the portrayal of characters in his stories, one can understand how and in what ways John Steinbeck represents his characters as common people who are driven by forces which they cannot comprehend. First, let's look at Steinbeck and any influences on him and his writing style and as a consequence, how they contribute to the concept that his characters are manipulated by pressures which they do not understand or are able to control. Steinbeck was positively fond of people, more than any other writers were and especially fond of men who work for bread in the open air in the fields or mountains (Beach 1). He was interested in people from the beginning, long before he had any theory to account for their ways (Beach 1). With this, Steinbeck chose novel writing as a career, despite his family's insistence for a more prosaic career (Millichap 3153). This traumatic rejection of middle-class values would be an important factor in shaping his fiction (Millichap 3153). He grew up in a frustrated modern America and witnessed the most notable failure of the American dream in the Great Depression (Millichap 3152). During this decadent period, many of Steinbeck's writings of! fered detailed accounts of social problems, particularly the plight of migrant agricultural workers in California's fertile valley (Millichap 3157). From this idea the design for The Grapes of Wrath emerged, which follows one family from Oklahoma and the Dust Bowl to California in search of a better life (Millichap 3158). Of Mice and Men also shows the persistence of the American dream and the tragedy of its failure (Millichap 3156). Several other points which helps elucidate the idea that some omnipotent force has an imperceivable grasp over Steinbeck's characters are the forces and themes found throughout his literature. "Many times to him modern life itself is the enemy in which his characters find themselves lost in a world they never made and want nothing to do with (Folsom 2276). At their best, Steinbeck's stories tell of lives which have turned out far differently from expectations, and the very modesty of these initial expectations allows the author ample scope for discussing that vague malevolence he sees at the heart of life itself (Folsom 2277). The villains which he creates are almost always faceless generalizations which can not be quite understood by his characters (Folsom 2276)." A good example of this can be drawn from The Grapes of Wrath where "the bank" represented an evil which drove the Okies from their farms and had also replaced the "lovable existential mule with the malevole! nt tractor" (Folsom 2276). This system of production and finance involves innumerable instances of cruel hardship and injustice (Beach 5). In addition,