The Process of Selection in Course Development Essay Example for Free

The Process of Selection in Course Development Essay Course development starts with the proper selection of course, resources, and strategy.   In selecting the course, certain factors have to be considered, such as the level of knowledge, the level of skill, and the level of confidence that the course requires. Expertise is one of the most significant factors in selecting the course because teaching requires that the instructor or teacher should have a solid background and knowledge regarding the subject.   Along with the selection of the course comes the selection of the basic topics or ideas that have to be discussed.    The organization or flow of the course would have to depend on these, so it has to be consistent with the subject, the level of teaching, and the philosophy or beliefs that the instructor wishes to evoke.   The basic theme or approach of study should also be selected. Next to selecting the course and the philosophy would be the resources from which the content of the course would have to depend on.   This includes the materials, the devices, and the people, which can influence the execution of the course ideas and philosophy.   Team teachers, librarians, community members, as well as computer support personnel are all included in the people resources.   It is in this stage as well that the tenets of discipline are being considered, as based on the philosophy and resources that are being made available. Lastly, when it comes to the strategy, the first thing to plan would be the basic objective that should come in line with the theme, tenets of discipline, and philosophy that are being selected.   Selecting objectives for the curriculum includes the learning theories and philosophies that would fulfill the execution of the strategy. It is important, too, that all these are related to the learning needs and characteristics (e.g., cognitive, cultural, social) of the learners.   Their skills and familiarity count a lot when developing the strategy, and by going over these, the instructor should have a basic framework on the best strategy that should fulfill the learning process, as indicated by the overall context.   Since learning should be a continuous process, the learners’ experience, motivation, and diversity should not be ignored. Reference Neal, I.P. (1998, September). Teaching centers, instructional technology, and course development.   Retrieved June 26, 2008, from the Technology Source Archives database: http://technologysource.org/article/teaching_centers_instructional_technology_and_course_development/.

Influence of Oscar Wildes Sexuality

Influence of Oscar Wildes Sexuality Oscar Wilde (1854-1900) was a writer whose homoerotic texts pushed the social boundaries of the Victorian era. Born to a family of unabashed Irish agnostics, the self-proclaimed dandy valued art, fashion, and all things physically beautiful. After receiving a comprehensive education from Oxford, Wilde made a name for himself in London first as a novelist, penning the now famous The Picture of Dorian Gray. A string of successful plays followed, among them The Importance of Being Earnest and An Ideal Husband. Wilde also published a variety of short stories and essays, but is acclaimed by historians for his pioneering influence over the aesthetic movement, a progression that opposed the accepted Victorian take on art in every way, shape, and form. Wilde postulated that art existed solely for itself, only for the sake of being art. His play The Decay of Lyingexemplified this tenet best, personifying his distaste for societys proclivities through a conversation between two people in a park.Though he fathered two sons, Wildes marriage fizzled as his personal life continuously hinted at homosexuality. Wildes inability to keep his private life secret proved to be his downfall; a love affair with a prominent nobleman resulted in Wildes imprisonment and expulsion from British social circles. Victorian Britain became increasingly morally rigid, its period marking a time when Britain was experien cing a growth in imperialism and conservative thought. While serving his term for homosexual acts, Wilde wrote the deeply spiritual De Profund is, in which he discussed his aspirations of individuality and freedom from the proprietary values that bound late Victorian society. An avant-garde writer and raconteur, Wildes sexuality had a profound effect on his works, influencing imagery and the nature of his characters in both The Picture of Dorian Gray and The Importance of Being Earnest. Wildes sexuality and effeminate nature shaped his relations to aestheticism, which in turn manifested itself in his works moral implications. Wilde frequently employed thinly disguised doubles, representing himself in his work in order to juxtapose anaesthete and a traditionally Victorian society. Wildes aesthetics are strangely connected to his obsession with Jesus Christ. It is peculiar that such an unorthodox figure such as Wilde would find so much solace and inspiration from such a religious source. In De Profundis, Wildes admiration for and comparison with Jesus takes on many levels. He likens his persecution to Jesus crucifixion, a notion that evokes hubris, especially given Wildes naturally flamboyant disposition.Though not entirely humble, Wildes comparisons are ba sed more on parallels drawn between Wildes persecution and the events leading to Jesus martyrdom. Many speculate Wildes eventual baptism and acceptance of Catholicism was a manifestation of imminent deaths madness as the famed author was too radical to accept religion within the boundaries of sanity. However, there are critics who contend that Wilde was very much in the mainstream of the intellectual currents of his time, a man clearly aware of what he was trying to achieve in terms of his life and art; in the end, he was willing to accept his newfound status as a pariah, provided he could still create plays and prose. Considered by many to be the most outrageous trial of the century, Wildes fall from grace was so indicative of his progression and the significance of his unique works set in a time between the Victorian era and the modern age (Hoare 4). Wildes persecution reflected a clash of morals and ideals not unlike those faced by the protagonists of his novels. Wildes trial mimicked his imaginative fiction: it was a clash of opposites: of good versus evil, of heterosexual and homosexual, of masculine and feminine, of the safe and the dangerous, of what was seen as morally right or morally wrong (Hoare4). Homosexualitys Influence in The Picture of Dorian Gray and The Importance of Being Earnest Wildes homosexuality had a profound influence over his work. His own experiences and relationships are projected into The Picture of Dorian Gray, and it is widely speculated that the characters Basil, Lord Henry, and Dorian are different aspects of Wilde himself. Wilde wrote that Basil is how I see myself, Lord Henry how the world sees me, and Dorian how I would like to be (Ericksen 101). The controversy behind The Picture of Dorian Gray was based in the extreme homoeroticism of the characters interaction; it is easy to see how Wildes writing elicited such a reaction. The male relationships are surely suggestive enough to stir even the most open-minded in the Victorian era. Wildessexuality affected the structure of the relationships as well, opening the book with the making of a homosexual love triangle involving Basil, Dorian, and Lord Henry. Basils painting is intimately connected with his adulation of Dorians physical beauty. Dorian, in turn, adores LordHenry, a man of stature who introduces him into a new coterie. LordHenry, in turn, adores Dorians physical beauty but also his relative innocence and the opportunity to mold him into the type of Victorian socialite everyone will adore. The novel opens with Basils overstated obsession with Dorians good looks. Basils sentiments, however, are undeniably romantic. As he paints his masterpiece, Basil is described as looking wistfully at the canvas, a smile of pleasure passing across his face as he lingers over the image he created (Wilde 1962, 20). In the case Basils day dreaming was too speculative a conclusion to make, Wilde provided his readers with interaction between Basil and Lord Henry sufficient enough to establish a romantic attraction for Dorian inside Basil. WhenLord Henry walks into Basils studio, Basil plans on keeping his subjects identity a secret out of jealousy. Basil immensely likesDorian, and has grown to love secrecy as it ensures that he will not have to share Dorian with Lord Henry (Wilde 1962, 22). Though it is later discovered that Basil is concerned that Lord Henry will corrupt Dorian with his cynicism and overdeveloped penchant for amorality, Basil is extremely protective of a man who he has be friended solely on the basis of his physical appearance. He describes to Lord Henry how upon seeing Dorian for the first time his face grew pale, knowing he met someone whose mere personality was so fascinating that [it could]absorb him if he allowed it (Wilde 1962, 24). Wildes homosexuality is significantly influential not just over the course of the plot, but also in the development of character relationships. Lord Henrys attraction to Dorian Gray is multi-tiered. Half the attraction to Dorian is on account of his youth, a possible reflection of Wildes relationship with younger men. The other half of Lord Henrys attraction to Dorian is his ability to mold Dorian into alike-minded socialite, a member of his New Hedonist group. However,Lord Henrys attraction, like Basils is undeniably romantic in nature. Though Lord Henry finds Dorian attractive, Dorians hold over Lord Henry does not fully take root until after Basil rambles on and on about his curious idolatry he has developed, and how he couldnt be happy if he didnt see Dorian everyday; Lord Henry takes serious notice of Dorian after Basil confides that he finds the young man to beabsolutely necessary to Basils life (Wilde 1962, 27). Wilde developsLord Henry in this way to stress his association wi th society at large; most people are not loved by everyone unless they are first loved by a few. Society, Wilde argues, will love whom it is deemed fashionable to love. Following Basils affirmations and affections, Lord Henry observes the young Adonis [made out of] ivory as wonderfully handsome, with his finely curved, scarlet lips, his frank blue eyes,his crisp gold hair; it comes to no wonder why Basil worshipped him(Wilde 1962, 33). The love triangle develops past Basils death; even Dorian finds himself attracted to Lord Henry. A peculiar observation is Dorians loss of composure after observing Lord Henrys romantic, olive-colored face and warm expression; Wilde writes that Dorian is in disbelief at his trepidation upon meeting Lord Henry (Wilde 1962, 38).After all, Dorian is not a schoolboy or a girl (Wilde 1962, 39). As Wildes homosexuality became more apparent, he began leading double lives. One of his lives was socially acceptable, as society perceived him as a married man with two sons. His other life was one spent among male prostitutes, renting houses outside London in which he would have extramarital, homosexual affairs. The incredible restriction Wilde faced was more because of his homosexuality than his marital infidelity. In leading his double lives, Wilde designed four characters in The Importance of Being Earnest to exude differing degrees of duality. The multiple personas were a reflection of the masks Wilde used as a means of personal adjustment, a prevailing theme among the four characters (Ericksen 151). The first character is Jack Worthing, a responsible man typical of the Victorian era. The legal guardian of a young woman, Jack finds it to be increasingly difficult to enjoy himself through the minor indiscretions that provide the average young man with such entertainment. As a re sult of his guarded nature, Jack creates his double, an alter ego he claims as his younger brother, whom he names Ernest. When Jack leaves the country and his responsibilities, he becomes Ernest, a mischievous character in contrast to the composed, model citizen Jack. The second character is Algernon Moncrieff, friend to Jack Worthing and first cousin to the woman Jack intends to wed. Algernon also leads a double life, though his double life involves animaginary friend of sort, a man whom he names Bunbury. The third character Wilde incorporates is Gwendolen Fairfax, the object of Jacksaffection. Though she accedes to her mothers will in public, Gwendolenrebels in private, pursuing Ernest without her mothers consent.After Jack plans to wed Gwendolen, she mentions she cannot marry a man whose name is not Ernest; this creates quite the dilemma for Jack, as he had originally planned to kill Ernest with another fabrication.The final character, Cecily Cardew, is a ward under her guardian, Jack Worthing. Tutored in the country, Cecily longs for a life outside her country estate, falling in love with the deviant Algernon. The doubles are a forward testament to Wildes life as a homosexual inVictorian London. As a Jack among his peers and Ernest among his lovers, Wilde is best personified in Algernon, though is present in both Jack and Algernon as they are constructed on similar principles and ideas (Ericksen 151). Both Jack and Algernon lead double lives, hence the similar principles and ideas. However, where Jack and Algernon differ is the nature of their double lives. Jacks alter ego, Ernest, is someone whom he actually becomes upon entering town. Algernon, on the other hand, claims to be visiting Bunbury, his imaginary ego. Algernon remains the same; the only thing that changes is his behavior. While both Algernon and Jack are sophisticated men of the world, only Jack finds the need to change his identity and life as he shifts social circles (Ericksen 152). Like the socially accepted individuals in Victorian society, Jack is rigid, morally sound, and never deviant. Initially known to Algernon as Ernest, Jacks transformation is almost instant as Algernon reveals his knowledge of Ernest/Jacks deviance with names. Ernest is wistful and madly in love with Gwendolen until his true ego, Jack, is revealed. As soon as Algernon shows Jack/Ernest the cigarette case, Jack shows himself, pointing out how ungentlemanly [a thing it is] to read a private cigarette case (Wilde 2005, 12). Algernon, now Jacks foil following Ernests departure, retorts with an epigram truly reminiscent of a dandy, stating the [absurdity in] having hard and fast rules(Wilde 2005, 12). The two characters play off each other from the very beginning, revealing their intentions. Algernon remains the deviant, bored with his surroundings and endless cucumber sandwiches (Wilde2005, 4). Jack leaves to indulge in the sort of behavior from which he is restricted as he is responsible for Cecily. Like Wilde, who has a family of his own, Jack cannot overindulge without risking social harm to his family. Ernest, then, is a double play on words; in indulging ones earnest, or true self, one escapes the constrictive Victorian society of moral and social obligations. Wildes aim here is to escape the Victorian moral code, returning to the Hellenistic antiquity of male relationships. Strangely, most everyone except Jack longs to see or meet Ernest.Algernon himself assumes the identity of Earnest in his quest to meet Cecily. Much to Jacks chagrin, Algernon decides to assume the identity of Algernon simply out of curiosity. Algernon has no ulterior motives; he wants to be Ernest just to be Ernest, a reflection of Wildespredisposition toward universal simplicity. Cecily also longs to meet Ernest, as she has heard of his antics and looks forward to a relative several degrees less rigid than her estranged guardian. Gwendolen is madly in love with Ernest partly due to her empathy for Jacksupbringing, and partly because of her obsession with his name. ThroughErnest, Wilde reveals his wishes of acceptance; he wants people to desire his homosexual identity and accept him not in spite of it, but because of it. Victorian values were imposed on every part of culture. Because of the great successes and advances felt by the 1860s, it was assumed that the throne had arrived at something new and worth keeping. An increasingly prudish era, the Victorian, puritanical movement required that all art have purpose. Whether to emulate a person, place, or event, art needed a reason to exist. It could be veneration of the object, veneration of the genre, or even veneration of the artist, but all art, including the written word, was subject to the Victorian standard if it was to be accepted by the general public. Like so many other movements, the Victorians were faced with the concept that art existed for art, that its sole end is itself and nothing more. While many mistakenly attribute this movement to Wilde, he in fact did not create aestheticism, he was merely its vehicle (Gaunt 119). As an Irishman, it was only natural that Wilde would be the catalyst for such a movement. Ireland was still relatively free of the imperialist expansion, allowing for a medium of trade most of England could not match. Wilde, after all, was not from the industrial wastelands of Liverpool, Manchester, or London. He was from the dingy magnificence of Dublin (Gaunt 119). Wildes aesthetics are rooted in his education, primarily his preoccupation with Hellenistic Greece and the old texts involving male relationships. When searching for the concept of beauty, he might havegotten his ideas from the great 6th century Hellas, where Wildeperceived the triumph of Greece and great civilization was its creation and representation of a supreme form of beauty (Gaunt 120).The ancient Greeks may have appealed most to Wilde because of the high premium they put on male-male relationships. Viewed as the most pure of all loves, homosexual male love was venerated by great leaders as well as scholars. The king of the gods and Mount Olympus, Zeus, was known to have a male lover, a young shepherd by the name of Ganymede. Contrary to the Victorians, who had inherited a set of religious beliefs based on faith rather than reason, Wilde had no concrete religious beliefs at all (Ericksen 19). The Aesthetic Movement, of which Wilde was soon to become the representative figure, was essentially a reaction against the ascendance of Philistinism in art and life (Ericksen 19). Wilde was determined to cultivate his own individual impressions of the world (Ericksen 19). Though he quickly became the most prominent aesthete, Wildes views were not unique. He had previously traveled to France, where he met with names such as de Goncourt, Flaubert, and Huysman, who showed him the depth of suffering as beauty. After Wilde settled in London in the 80s, he began to showcase his aestheticism, sporting garb such as plum-colored velveteen knickerbockers with perhaps a soft loose shirt and a wide turned-down collar (Ericksen 21). Wilde advocated art as having intrinsic, immeasurable value. Unlike the Victorian stance, art did not have to feature a moral code, teach a lesson, or exist as a monument to an ideal supporting morals. Art is art, and exists only to exist for itself. For example, paintings of the Last Supper, though beautiful, existed to be a testament to Jesus or Christianity. Wildes Aestheticism would interpret the Last Supper to exist solely for the purpose of being a beautiful painting. The colors, shapes, and figures would be the central focus as they would represent beauty; the connotation behind twelve disciples sitting around a solitary figure would be dismissible. Wildes sexuality ties indirectly to the concept of art; one of the reasons Wilde advocated the aforementioned moral system was his relation of the system to antiquity. Homosexual union was not a defiled perversion; Wilde argued that it was a sign of progress, like aestheticism. Aestheticism and homosexuality would be placed in the same context as other time periods such as Hellenistic Greece, Classical Italy (Michelangelo), and Shakespearean England. The aforementioned periods involve the perfection of the male form; Wilde believed himself to be in line with the traditions of old because of his Oxford rearing. Hellenistic aesthetic coincided with Wildes sexuality and his aesthetic movement in the shared view that the male form was the most beautiful.Homosexual relationships were therefore considered an act of beauty, the most revered form of affection possible. Wildes The Decay of Lying is a multi-page testament to his belief in arts greater purpose as having no such purpose. Essentially an extended metaphor for the ill consequences of turning art into a mathematical measure, The Decay of Lying describes lying and poetry as arts (Wilde 1997, 7). The metaphor continues, equating art with an exaggeration of reality. True art, Wilde argues through the protagonists Cyril and Vivian, is so abstract that the real becomes unreadable (Wilde 1997, 13). The nature of art and beauty is so abstract that nature and life are meant to imitate it. The dangers of regarding art as a moral calculus are detailed in The Picture of Dorian Gray. The strange stasis in which Dorian findshimself—the state where his self-portrait shows his aging and the negative effects of his actions—is a wonderful example of Wildesaesthetics in motion. The story unfolds as Dorian is sitting in front of Basil; Basil is seen pondering the sheer physical beauty of the scene in front of him. The true aesthetic, Basil seeks out the beautiful solely because it is beautiful. He becomes enamored with Dorian only because of his beauty. On the other hand, Lord Henry findsDorian irresistible because of the potential socialite he sees in a mind that has yet to be molded. Basil the aesthete warns Lord Henry, imploring him not to make a cynic out of something beautiful; in this case, Basil is ultimately requesting Lord Henry to take caution in his approach to Dorian. Basil wants to preserve Dorian the way he is because he finds him beautiful, where Lor d Henry wants access toDorians private time so he can mold something new and different.Dorian becomes a work of art, manipulated by Lord Henry, killing Basil, the aesthete. Later in the novel, Lord Henry gives Dorian a yellow book, one with no title that is presumably about art and philosophy (Ericksen 115).Dorian becomes obsessed, using it as a Bible with which he leads his whole life. In the end, Dorian dies, having gone mad. This is an unequivocal warning from Wilde to those who would pervert the course of art (Victorians). Wilde shows the reader what happens when art is taken out of context and into a completely inappropriate light. Moreover, its hows how damaging the Victorian approach is; Dorian is unable to change his ways. Shortly after his inhuman treatment of Sibyl, he attempts to reform, only to find the painting smirking back at him.This is a reflection of the unyielding nature of Victorian society; itis a reflection of Wildes suffocation and inability to move freely, creatively, or inspirationally in the context of British society at the close of the 19th century. Just like Dorian, Wilde cannot express himself freely; though he had a chance in the beginning of the novel, Dorian did not follow the poor artist Basil. He instead opted to conform to the higher-ranking Lord Henry, whose coterie led Dorian to his death. Once in the clutches of Lord Henry, Dorian was fully supplicated to the mercy of his manipulator. Lord Henry almost immediately changes in his affections for Dorian, the extreme differences being Dorians perception as an Adonis in the beginning and as an unrecognizable, withered, man who is unidentifiable until they check his rings. Wildes third play, An Ideal Husband makes use of the witty banter known as epigrams to reveal the darker side of Victorian values in atongue-and-cheek fashion. The whole play is an epigram of sorts, exemplifying the imperfections of the Victorian bourgeois by mockingly portraying the inefficacy of their incorporation into Wildes ideal society. The traditional Victorian values Wilde mocks in An Ideal Husband are devotion, forgiveness, sacrifice, loyalty, moral integrity, and a composed disposition, all traits that Wilde subverts in his character portrayals. Though Sir Robert, the ideal husband, finds himself at the disadvantageous end of blackmail, his past does not warrant Wilde to present him as vile or duplicitous, as Lord Goringpostulates to Lady Chiltern that every man of every nature [has]elements of weakness (Wilde 2004, 27). The play, however, becomescentered around a conflict caused by [Lady Chilterns] unyielding moral rigidity (Ericksen 142). Sir Robert faces a moral dilemma in his coping with Mrs. Cheveleys blackmail. Wilde makes a useful point in the Sir Roberts circumstances; on one hand, Sir Robert is faced with making public his dark and relatively shameful past, there ineffectively nullifying Mrs. Cheveleys threats. On the other, he must deal with a Puritanical wife who cannot forgive anyone who has done a wicked or shameful deed, including Sir Roberts possible complicity(Ericksen 141). Would an ideal husband accede to the blackmail, there indenying his wifes request to challenge Mrs. Cheveley? In either event, Sir Roberts relationship is put in jeopardy. He can either lie to his wife, giving in to Mrs. Cheveley and compromising his marriage, or he can make his past public domain, marring the perfect public image his wife so treasures. Ironically, the couples social coterie perceivesSir Robert as the ideal mate, a man who, until his blackmail, was known for his impeccable reputation. Even his private life with Lady Chiltern was blissfully free of blemishes. Sir Roberts reputation and relationship with his wife, however, could have been saved by a simple lie. Had he never revealed the truth to his wife and given in to Mrs.Cheveley, giving in to her will, Lady Chiltern wouldnt have been one to know the better. An ideal husband in this case would therefore lie;for Wilde, the Victorian moral impetus lies not with adhering to the traditional values, but rather in maintaining the facade of keeping values in general. Ironically, Lady Chiltern learns of her husbands past all the same, [castigating] him and [rejecting] his please for forgiveness (Ericksen 141). No amount of marital maneuvering can spareSir Robert. In the end, it is Lord Goring who confronts Mrs. Cheveleyabout Sir Roberts blackmail; he is the only empowered character as he speaks and acts under no false pretenses. While he is far from perfect, chastised by his father for dancing until four oclock in the morning, Lord Goring is Wildes idealist—he is an art love r, whose witty repartee is surpassed only by his willingness to fight Mrs.Cheveley. One of Wildes most effective comic devices is his employment of epigrams, and more comical still is his utilization of Vicomte deNanjacs malapropisms. The French Attachà © in London, Nanjac representsWildes interpretation of those not fortunate enough to be born elite; Nanjac is easily recognized by his adoration of society and hisAnglomania (Wilde 2004, 4). His malapropisms are a reflection of the sad attempts of many to engage in epigramic banter, the object of LordGorings successful use of epigram. A ridiculing character, WildesNanjac is one whose blind aspiration to join a society hampers his vision and taste, therein earning him the scorn of the more capableLord Goring. Wildes assault on the Victorian bourgeois is personified best by the duality of his characters. Sir Robert, for example, presents a public mask of absolute personal integrity but has actually built his fortune and career upon a deception (Ericksen 144). An almost hero, Sir Robert is a manifestation of Wildes implications regarding a relatively innocent mans subjugation under society. Lord Arnheim, Sir Roberts former co-conspirator, first seduces Sir Robert with his doctrine of wealth, elucidating his view that controlling others is lifes greatest attribute (Ericksen 142). Mrs. Cheveley displays this best asLord Arnheims theoretical protà ©gà ©e; the two are almost Machiavellian in their manipulation (Ericksen 145). Where Lord Arnheim seduced SirRobert by playing to the discrepancy between his noble birth and modest financial holdings, Mrs. Cheveley is absolutely ruthless in her willingness to wreak havoc on all aspects of Sir Roberts married life in order to secure her investments. In his surrender to the wills of the two manipulators, Sir Robert becomes an ideal human, one whose proclivity to err alienates him from society. By succumbing to the two prominent materialists, Sir Robert embodies Wildes disdain for the financial drive of Victorian social coteries; contrary to the art-collecting Sir Robert, the female villain has no pleasures outside control and exploitation. Wilde addresses the lack of humanity in Victorian society, personified by the promulgation of perfection among the social elite. In the first Act, Mrs. Marchmont and Lady Basildon discuss their unfortunate marital situation. Lord Goring notes they are married to the most admirable husbands in London, to which Mrs. Marchmont responds that their husbands perfection is exactly what [they cant stand]; there is not the smallest element of excitement in knowing [them] (Wilde 2004,10). In this sense, the true Sir Robert, the one susceptible to suggestion and whose past compromises his future, becomes the ideal husband. Wilde suggests all Victorians wear masks, alternate identities that shield them from being human and enjoying existence. The ideal marriage is manifested best by the speculative union of Mabel Chiltern and Lord Goring, who at the plays close reject the common Victorian roles and morals previously discussed. Wildes Victorian surroundings were instrumental in his development of aesthetics, but were unfortunately not tolerant of his private life. A controversial figure, Wilde was homosexual, and had an ongoing affair with a younger nobleman by the name of Lord Alfred Douglas. Lord Douglas father, enraged at his sons homosexual relationship with Wilde, accused Wilde of being a sodomite, a grave offense in Great Britain at the time. Though acquitted in his first of two trials, Wilde was later sentenced to serve two years hard labor on the aforementioned charges. First imprisoned in Londons Wandsworth prison, Wilde was denied pen and paper until his transfer to Reading Gaol, where he eventually wrote De Profundis. While Wilde revealed his fascination with the figure of Christ [throughout] his literary career, only in De Profundis did he actually make [Christ] a part of his aesthetic system (Ericksen 156). A dramatic monologue on spirituality and society, De Profundis features several metaphor s likening Wilde toChrist. Wilde felt his unjust imprisonment made him a martyr; upon initial circulation of rumors regarding his sexuality, Wilde could have left London for France, therein spared persecution. Unlike Hamlet, who became a spectator to his own tragedy, Wilde the Christ-figure actively sought out what he perceived as his end (Wilde 2003, 28).Where Christ accepted his fate for the benefit of mankind, Wilde was a self-convinced saint and martyr for art and what he perceived to be the threatened aesthetic movement. Having passed through every mode of suffering, Wilde was convinced that his redemption would be realized through his incarceration and subsequent release, upon which his newfound humility would help him rise again (Wilde 2003, 4). Just as mankind would redeem itself through the trial and crucifixion of Jesus, Wilde felt society would be redeemed through his incarceration. He continued, developing his incarceration to salvation, likening greatness to requisite s orrow. Wilde admired Jesus for having realized his calling as being completed, reaching fulfillment upon its end(Wilde 2003, 19). Marveling at his situation, Wilde mused on the incredulity of a young Galilean peasant imagining that he could bear on his shoulders the weight of the world, including all the worlds past sins as well as what had yet to be done and suffered (Wilde2003, 13). Jesus death and resurrection was that toward which Wildeaspired, conceding that imprisonment was most likely an act of retribution for the fanciful and carefree life he led previously.Incarceration, then, was Wildes means of atoning for the errant life he might possibly have led upon his release. He hoped his relationship with Lord Douglas would be forgiven, and longed for societys acceptance. Wilde could claim on [his] side that if [he realized] what[he had] suffered, society should realize what it [had] in turn inflicted; with a mutual cognizance shared between Wilde and society, he hoped there would be no bitterness or hate on either side (Wilde2003, 7). Just as Jesus attempted to win over his captors and aggressors through his death and resurrection, Wilde hoped to pacify societys enmity by paying his social dues in prison. Wilde even likened the course of his lifes events to those leading up to Jesusmartyrdom. For example, Jesus was given direction by God the Father and condemned by Man. Wilde, in turn, ascribes the two great turning points in [his] life as when his father sent [him] to Oxford, and when society sent [him] to jail (Wilde 2003, 6). Wildes foreknowledge of an impending criminal proceeding did not dissuade him, just as the disciples could not sway Jesus acceptance and willingness to die on the cross. Neither Wilde nor Jesus could ignore their calling, no matter the grisly end. As a sinner, Wilde conceded that he had to accept the fact that martyrs were equally persecuted for the good as well as for the evil committed (Wilde 2003, 7). However similar to Jesus Wilde would assert himself to be, there weredefinite discrepancies in De Profundis that could testify to Wilde asan admirer of Jesus rather than his attempted emulator. Wildepostulated that Jesus saw Man in the same fashion as the aestheticmovement saw art; Man existed simply to exist. Wilde wrote that Christ regarded sin and suffering as being [beautiful] in and of themselves, that such a notion was the dangerous idea that led Christ to his demise (Ericksen 157). Just like Christ, Wildes own dangerous idea that ran against the Victorian grain was what led to his downfall.Wilde also saw his imprisonment as a period of transition. Hisindictment of the Greek gods as deities emulating humans indicatedhislife prior to imprisonment; Wilde labeled the Olympian gods as ableto reach greater heights (Wilde 2003, 17). Each Olympian representeddifferent aspects of humani

An Insightful Analysis of A Disgraceful Affair Essays -- Short Stories

Periodically, a relationship between the bourgeoisie and the proletariat can be a clouded perception, only due to the fact the proletariat will not be given the chance to speak from their point of view. This such thing is not true when it comes to the short story, â€Å"A Disgraceful Affair.† The story is based around the Russian interpretation of Marxism, shown in the forethought to the opening paragraph, in which it speaks â€Å"Our beloved motherland was experiencing a renaissance; her brave sons, fired with impulses at once touching and naà ¯ve, were seeking with an uncontrollable yearning for new destinies and hopes.† The thing that determines what they do is their social class and economic position, which in turn, affects what happens to them. The two men used to elaborate the idea are the bourgeoisie Mr. Ivan Ilyitch Pralinski, and proletariat Mr. Porfiry Petrov Pseldonymov. â€Å"Your Excellency,† Ivan Ilyitch had only been known as such for a few short weeks, but with his statue of mind and manner, it seemed like years. He was, in his own mind, always right and if someone did not understand what he was doing or saying, they were idiotic. â€Å"And how could he fail to understand? It was more difficult not to understand than understand,† is not even a statement against a drone, but rather against another even more credible bourgeoisie than himself. To his due, he is a very brilliant man, but he lacks common respect and tries to use his position in authority to gain popularity amongst the proletariat culture. Due to his economic stature, and his social class, he believed he could do anything he pleased; which he showed by walking in on a fellow colleague’s wedding party. Under no circumstance did he know or relate to Mr. Pseldonymov, but only ... ...e with humour, and with shortcomings, the idea of Marxism. Not only did he show two separate and very different views, but he also showed how the Marxist idea is too readily evident in everyday life. Ivan Ilyitch is not a typical bourgeoisie, but none the less he is one, so he fails to comprehend the proletariats correctly. He tries, and wants to because of his idealism, but his view of the events at the wedding party are completely opposite to those of Pseldonymov. What Ilyitch thought was not at all what Pseldymov went through, because he has never experienced it. Through the authentic proletariat voice, we can conclude that what happens to a bourgeoisie differs greatly in comparison to what happens to a proletariat. Even as much as one wants to understand the other, or be the other, society holds the barrier and even the smart well-hearted can not break through.

Essay --

Now that we have demonstrated the Gothic influence on the Brontes’ writings , now that we have identified the interest the Brontes had in the Gothic, it seems logical to assume then that the vampire motif has been exploited not only in Emily and Charlotte Brontes’ works, it is also exploited by Anne Bronte throughout her second work The Tenant of Wildfell Hall. The creation of traditional supernatural vampires has no rhyme or reason. It has been like the galloping horse with no horse rider to control the race. Nineteenth century vampires of Gothic literature, by contrast, are literary tools serving some particular purpose. Carol A. Senf in her book The Vampire in Nineteenth Century English Literature stresses the fact that nineteenth century writers make use of the vampire as a social metaphor in realistic fiction. She writes thus:†Ã¢â‚¬ ¦Polidori†¦does provide however the merest suggestion of the ways that writers, such as the Brontes and George Eliot, will use the vampire as a social metaphor when he gives the reader brief glimpses of a corrupt society where the wealthy, plagued by ennui, seek to alleviate their boredom by flirting with vice† (Senf: 39). Thus in the case of the vampire motif in a nineteenth century Gothic novel entitled The Tenant of Wildfell Hall, Anne uses Gothic metaphors rather than photographic descriptions to reveal the social horrors of her time. It appears now that Anne Bronte uses much the same narrative strategy as her sisters Charlotte Bronte and Emily Bronte. Like Charlotte and Emily, Anne Bronte diminishes the vampire’s mythic power and focuses on the sorts of cruelties her human characters display to destroy the lives of others. For instance, through the vampire motif Anne diverts her readers’ atten... ...uding the â€Å"New Woman† of the 1890s. That’s why the blood-sucking aspect of vampires is gradually being diluted by nineteenth century writers. It seems clear therefore, that Anne Bronte, through her outstanding work of art, joins Oscar Wilde’s view that any narrative strategy should be employed solely for unveiling the poor conditions of the time and not for gratifying a bourgeois taste of some kind. In his 1891 essay "The Soul of Man Under Socialism", Oscar Wilde stresses the fact that any artistic piece of work must be a product of the artist’s creative process. A work of art must have one supreme goal; representing what others need and not what others desire to see. This is exactly what constitutes a given artistic greatness, according to Wilde. Indeed, Only when the artist ceases to suit others’ desires, that he comes to be regarded a true artist.(witcombe.sbc.)

Sandy Skoglund Essay examples -- Essays Papers

Sandy Skoglund Sandy Skoglund has been in the forefront of contemporary art in the United States, as well as overseas, for nearly two decades. Her dramatic impact to the art world didn’t begin overnight. After sheer dedication to art education she received her BA degree in Studio Art in 1968 from Smith College, Northampton, Massachusetts. Upon getting her BA, she pursued further education at the University of Iowa where she received her MD. With her remarkable educational background, Skoglund decided to expand her horizons by teaching. Her teaching career grew at a rapid pace and she found herself teaching at the University of Hartford from 1973 to 1976. In late 1976, she was offered a position at Rutgers University, New Jersey, and has been teaching there ever since. She has been giving her expertise in the form of photography and the art of installation and multi-media for fourteen years now, and she doesn’t plan on giving it up anytime soon. As Skoglund began to see that the sky was the limit, along with teaching, she decided to experiment with illustration and commercial images. The advancement in these areas had been a lifelong dream. Merely overnight, Skoglund’s career blossomed and her sole purpose in all of this was to make people see and feel her brilliant expression in a way that they could easily relate to. Over the years Ms. Skoglund has created an art that seems to bash modern day reality as we know it. Ms. Skoglund has had tremendous succ...

Case Study Nike Essay

1. How does Nike’s decision to retain an in-house arm of ad agency Wieden & Kennedy exemplify the concept of organizational design? The decision to retain an in-house arm of ad agency exemplify the concept of organizational design, makes you look at how both companies interpret organizational design. Organizational design is the process of creating structures that accomplish the company’s missions and objectives. First looking at the text, you interpret the Nike’s mission is to design products that will have an outcome of a positive image and that positive image will encourage consumers to purchase Nike products. This shows you that Nike’s image is one of the most viable and important aspects for their company’s success. Which would leave to the following aspects of customer satisfaction, because without that I could potentially ruin Nike’s positive image that they strive so much for. Another factor that plays into this positive image would be advertising. Advertising is an important factor because helps the company showcase their â€Å"consumer-aimed† designs to the public. â€Å"Nike recently spent nearly $2.5 billion annually on advertising.† This textbook reference perfectly displays Nike’s commitment to their positive brand image. Nike’s current advertising agency, Wieden & Kennedy has portrayed this image successfully in the past and currently. This success was show by Nike providing them with â€Å"in-house arms† at the Nike headquarters. By Nike displaying this affection of placing a core contributor to their mission of having a positive image and taking placing them into their headquarters, embodies the concept of organizational design. Not only does is embody the concept is gives the advertising agency the opportunity to have access to Nike’s executive officers, all other employee’s that fall under the top-down and bottom-up structures of change. Which will stimulate Weiden & Kennedy form to better and personalize  marketing strategies and divisional structure for Nike’s mission and purpose to give them the competitive advantage that they have and strive for. 2. Given the problems Nike has had with sweatshop labor being used by some of its foreign contractors, are there parts of the firm that need to be run with a mechanistic rather than organic design? Give examples to support your answer. In my opinion, Nike should run with a mechanistic design rather than organic. They should do this because when looking at the manufacturing departments that Nike employs it is common knowledge that they companies may not provide nor have the basic necessities that would be implemented by labor laws. Now, seeing that mechanistically control is exceedingly bureaucratic is only proves that this needs to happen within outsourcing departments. Nike should have more restricted limits of control to keep them on task when employing these realities of outsourcing. The association with sweatshops is a big deal alone, and Nike is being accused of allowing then to be employed within their company. Looking back at the question above, this would impact their mission of having a positive image as a while. Referring to the text: Nike refused and refuted to comments made by the critics. Nike will destroy their mission of wanting a positive image, when being associated with allowing sweatshops and unsatisfactory work conditions. When looking at prevention of this negative image, you would have to go to the employees who watch the outsourcing and construct and organize the business dealing with the manufacturing firms. Like stated before they should have personalized and centralized tasks and authority at all times. A way they could implement this in there current situation would be appointing Hannah Jones a Nike executive to watch over the efforts of improvements in the factories working and labor conditions. She could do this by simply appointing a position below hers to watch over a specific issue at a time and report back to her. This would give her department power of what is occurring in these manufacturing companies that Nike as a whole  has decided to outsource to. The manufacturing companies involved with Nike’s brand image and business, as a whole should be required to follow Nike’s standards of ethics. When referring back to organizational design, extreme use of supervision is key. Even if Nike were to implement the idea of taking action of supervising every factory to focus of labor issues alone, it would give them the information needed to know if they should be outsourcing with those manufacturing departments. This could lead to the manufacturing departments actually taking that information and collaborating to have well trained and the proper authority to give them the expectations needed.

Lord of the Flies-Rules on the Island Essay

We need rules to keep us safe. Also, rules will make it fair and equal for everyone and help us to survive and be rescued. It is really important for us to follow these rules. We need rules on this island to keep us safe until we are rescued. We nearly set the whole island on fire and now the boy with the birthmark is missing! To stop this happening again we will have only one fire only, up on the mountain, for cooking and as a signal. That way no-one will be harmed. Also, don’t wander into the jungle at night. You could get lost and then we all have to come looking for you. Another problem is boys going to the toilet wherever they want. It stinks and it is dirty, especially when you go near the fruit. We could all get sick from it! From now on go near the rocks and the water will wash it away. These are just a few reasons why we must have rules! Rules will ensure that every boy is treated fairly and equally. The conch should be used at all meetings where only the boy with the conch can talk. By doing this there will be no interruptions and everyone will get a fair say. Furthermore, Piggy has been hit and his glasses broken. The idea of the stronger boys taking advantage of the weaker ones is not acceptable. This behaviour is barbaric! Can’t you see? If we continue this there will be fights and arguments and we will fall apart. Without doubt this proves that rules are needed. We need rules or we won’t survive and get rescued. We all need food and shelter to survive. Without food we will starve and without shelter there is no protection from the elements. We must work together so shelter is built and food is caught. In addition, if we don’t follow rules such as keep the fire going we won’t get rescued. We already missed one chance of rescue when Jack left the fire, we won’t miss another! Clearly this shows, it isn’t hard, rules must be followed. You guys have to realise that these rules determine life and death. Rules keep us safe, they ensure everyone is treated fairly, and help us survive and be rescued. It’s up to you to follow these very important rules which must be abided to.