The Androgynous Ideal; Androgyny in Virginia Woolf’s Writing - Literature Essay Samples

In the works of Virginia Woolf freedom is an often unattainable ideal. Woolf discusses freedom at great length in her texts, ranging from the broader freedom of the individual to live as they please in her fiction to the creative freedom of the artist in her nonfiction. There are a few instances in her work where freedom becomes a possibility in both the lives of the individual at large and the artist. The titular character of Orlando is able to live a life that defies definition due to their ever-changing gender, while in the book length essay A Room of One’s Own Woolf provides the writer with a more creatively limitless form of writing. Both of these works present different types of freedom, personal and artistic, but the catalyst for these freedoms is the same: androgyny. Androgyny, for Woolf, is a liberating state, one that allows us to distort or escape what she sees as the most constraining discourse in our society: gender. In fact, Woolf presents androgyny as the state in which the individual is the freest. This essay will argue that Woolf’s writing explores a concept of freedom, both personal and artistic, only achievable through a distortion and rejection of gender through androgyny, looking at the subversive life of Orlando and the rejection of gender in A Room of One’s Own. Sandra Bem defines the androgynous individual as ‘an individual who does not rely on gender as a cognitive organizing principle and whose personality therefore combines both masculine and feminine elements’.[1] By stating that the androgynous individual does not have to ‘rely on gender as a cognitive organizing principle’ Bem defines androgyny as not simply the mix of masculine and feminine. Rather, androgyny is freedom from, and ultimate rejection, of the discourse that is gender, the mix of masculine and feminine is simply the product of said freedom. Furthermore, the idea of gender as ‘as cognitive organizing principle’ means that everything about us as individuals is regulated and sorted through gender: the clothes we wear, the acts we perform, the words we use; everything about us is gendered. By Bem’s reasoning to be androgynous is to be free from gender, to defy gendered definition and exist beyond what Judith Butler calls the real m of cultural intelligibility: an ordered and coherent subjectivity regulated by gender. Butler writes that ‘â€Å"Intelligible† genders are those which in some sense institute and maintain relations of coherence and continuity among sex, gender, sexual practice, and desire.’[2] Androgyny is a freedom that allows the individual to defy and distort Butler’s realm of cultural intelligibility. To be androgynous, therefore, is to confuse and reject the standards normalized in our society, to refuse the default and chose an unintelligible alternative. The novel Orlando presents a version of androgyny that subtly challenges the notion of cultural intelligibility. Subtitled ‘A Biography’, the novel uses the form of the biography and the narrative voice of the biographer to present the expectation of the culturally intelligible subject, only to contradict that expectation with the fantastical and amorphous life story of Orlando. In her essay ‘The Art of Biography’ Woolf writes that the form of the biography ‘imposes conditions, and those conditions are that it must be based upon fact.’[3] The biography as a form, according to Woolf, is rigid and controlling. In biography there can be no room for doubt or inconsistency, and thus the narrative of the biography, the voice of the biographer (which we shall assume is a male voice), is the voice of truth. Orlando opens with a sentence that directly assures the reader that the biographer is the harbinger of truth: ‘He – for there could be no doubt of his sex, though the fashion of the time did something to disguise it’.[4] This sentence is designed to convince the reader that the biographer can see the truth, that despite what may ‘disguise’ reality there is ‘no doubt’ that the biographer is telling the honest facts. The biographer in Orlando is the voice of truth, of expectation and the norm. That Orlando could be a woman disguised as a man by ‘the fashion of the time’ is not a possibility as this goes directly against the norm that the biographer is fated to maintain. Furthermore, at the start of the novel Orlando is undoubtedly male and so the biographer presents the expectations of the male subject: ‘From deed to deed, from glory to glory, from office to office he must go, his scribe following after, till they reach whatever seat it may be that is the height of their desire. Orlando, to look at, was cut out precisely for some such career.’ [Woolf, pp. 11] The biographer has an expected norm for Orlando and as Orlando, at the novel’s beginning, is, ‘to look at’, the archetypical nobleman there is ‘no doubt’ in the biographer’s mind that this expectation shall be met. Gender, rigid and full of norms, has determined what Orlando’s life as a nobleman is to be, robbing them of the freedom to choose the life they truly want, and the biographer, ‘his scribe’, is there to record and define this life. The biographer in Orlando thus comes to act as the maintainer of a culturally intelligible and coherent subjectivity. It is the job of the biographer to check Orlando still exists in the realm of the intelligible and define Orlando’s life as truthfully and solidly as possible. As the novel progresses, however, Orlando defies the expectations of the biographer and freely lives beyond the realm of cultural intelligibility. It is their ‘transformation’ from man to woman that frees Orlando from the strict definitions that the biographer has imposed. Before Orlando’s transformation the narrative of the biographer was rigidly assured in its subject, but upon that transformation inconsistencies arise and the rigidity of that narrative starts to collapse. Upon Orlando’s immediate transformation the biographer says ‘we have no choice left but to confess – he was a woman.’ [Woolf, pp. 83] ‘We have no choice to confess’ shows that the biographer, unlike the omniscient doubtless figure Woolf envisions in ‘The Art of the Biography’, has, in Orlando, met the limits of understanding. Pushed to the edge of cultural intelligibility, Orlando becomes to the biographer a paradox, shown through the oxymor onic ‘he was a woman.’ What was so set and clear to the biographer in the novel up to this point becomes undefinable, his subject so unintelligible that he states it is ‘irritating [†¦] to see one’s subject, on whom one has lavished so much time and trouble, slipping out of one’s grasp altogether’. [Woolf, pp. 155] As Orlando grows into their androgyny they experience greater freedom from the limiting discourse of gender and cultural intelligibility embodied by the biographer. The biographer, meanwhile, becomes unable to hide or disguise Orlando’s unintelligibility, ‘to mitigate, to veil, to cover, to conceal, to shroud’ the now wholly subversive existence of Orlando. [Woolf, pp. 170] Unable to contain or hide Orlando’s unintelligibility, their androgynous freedom, the biographer finds himself struggling to maintain a coherent intelligibility within the novel’s narrative. As Christy L. Burns writes: †˜the notion of an essential self [is] comically reduced to a belief that Woolfs less than competent narrator struggles to defend’.[5] Orlando’s subjectivity is freed by their androgyny beyond the limitations enforced by the role of the biographer. Freedom from the confines of the biographer is achieved by Orlando through fulfilling an androgynous life. A pursuit of freedom from convention and expectation is evident in Woolf’s exploration of artistic imagination. While in Orlando androgyny is explored through how the individual can defy definition or containment through an androgynous life, in A Room of One’s Own Woolf argues that an androgynous style of writing frees the author and allows them to pursue a form of literature more creative and fulfilling. In the essay, Woolf shows a keen awareness of the limitations set by gender, noting how the traditionally submissive role of women within society and their historical exclusion from higher education has limited their creative capabilities. Woolf, however, does not ignore how gender as a discourse not only constrains women creatively but also creates a barrier for men. Woolf writes that ‘Perhaps a mind that is purely masculine cannot create any more than a mind that is purely feminine’.[6] Gender, for Woolf, is thus a creative blockade that disallows artist s of either gender to create art of any more substance than an artist of the opposite gender. Gender puts limits on the imagination, creating a stunted dual subjectivity where there is a clear distinction between male and female: ‘in each of us two powers preside, one male, one female; and in the man’s brain the man predominates over the woman, and in the woman’s brain the woman predominates the man.’ [Woolf, pp. 88] It is from this duality of the mind that Woolf offers a solution to the limits created by gender; androgyny. Mary Jacobus writes that Woolf’s androgyny is one where ‘the split [between masculine and feminine] is closed with an essentially utopian vision of undivided consciousness.’[7] Jacobus interprets Woolf’s androgyny as not the individual exhibiting masculine and feminine traits, but rather where the division between masculine and feminine is destroyed. If there are no more distinctions between male and female as Jacobus contests that Woolf envisions and gender as a discourse, as Butler writes, exists because of the relationship between male/man and female/woman, then there is no such thing as gender; gender is surpassed. Thus Woolf presents a type of androgyny that presents an absolute freedom from gendered discourse as gendered discourse no longer exists. When she writes that ‘Coleridge certainly did not mean, when he said that a great mind is androgynous, that it is a mind that has any special sympathy for women’ she is saying that the androgynous mind is not one that inhibits both masculine and feminine elements, but rather surpasses them. [Woolf, pp. 89] She argues that ‘the androgynous mind is resonant and porous; that it transmits emotion without impediment; that it is naturally creative, incandescent and undivided.’ [Woolf, pp. 89] Therefore the androgynous mind does not exhibit the best qualities of gender norms: the traditional sensitivity of women and the strength of men. To the androgynous mind these qualities are innately parts of the artist. As Marilyn R. Farwell writes, Woolf’s androgyny permits a ‘freedom from the emotional extremes of sexual ster eotypes [that] will lead to a complete objectivity.’[8] Woolf argues that it is through abandoning gender entirely, through living freely from that particular discourse, that the artist is given the opportunity to create and imagine without limits and with total objective honesty. Woolf makes the case for a form of androgyny that closely resembles Bem’s: a non-reliance on ‘gender as a cognitive organizing principle’, it just so happens that the abandonment of gender distinctions is so easily interpreted by those subjectivities still existing within the discourse of gender as exhibiting both masculine and feminine traits when really it is just the exhibition of traits without a gendered definition. Therefore in A Room of One’s Own Woolf does not advocate for the celebration or empowerment of one gender or another, but rather for the repression or disregarding of all gender. Woolf argues that in order for the woman writer to succeed in her pursuits she must not free the femininity in her but rather destroy it in order to free the creative. Gender in this essay, unlike the controlling gender policing of Orlando’s biographer, is divisive. Woolf writes that ‘No age can ever have been so stridently sex-conscious as our own’, noting how ‘The Suffrage campaign was no doubt to blame. It must have roused in men an extraordinary desire for self-assertion’. [Woolf, pp. 89] To focus on gender is for Woolf to not pursue freedom from it but rather reinforce how it divides us. Gender norms are designed to defend themselves when challenged; for a woman writer to declare ‘I am a woman writer and I wish to be taken seriously’ causes a man writ er to write solely to ‘celebrate male virtues, enforce male values, and describe the world of men’, writing with an ‘emotion [†¦ that] is to a woman incomprehensible.’ [Woolf, pp. 92] Gender, therefore, is so divisive that it creates miscommunication between the sexes. Woolf writes that ‘it is fatal for anyone who writes to think about their sex. It is fatal to be a man or woman pure and simple; one must be woman-manly or man-womanly’. [Woolf, pp. 94] For the writer to free themselves from the creative limitations imposed by gender they have to abandon their gender entirely. Woolf’s vision of androgyny in A Room of One’s Own is a celebration of creative empowerment and a denouncement of partisan male and female empowerment. As Lisa Rado notes ‘the empowerment [Woolf’s androgyny] is designed to produce is predicated on the repression of her own female identity’.[9] Subjectivity, Woolf argues, should not be divided by the labels of male/man or female/woman. Instead we should disregard these labels and empower a creative genderless subjectivity. In a sense, in A Room of One’s Own Woolf is directly challenging the authority of the biographer in Orlando. The biographer constantly attempts to rigidly maintain the cultural intelligibility of Orlando: ‘He – for there can be no doubt of his sex’ and ‘he was a woman’ are examples of how the biographer constantly attempts to maintain Orlando as a binary being, ‘he’ or ‘she’. But by the vision of androgyny in A Room of One’s Own the biographer, by maintaining traditional gender roles, is failing to see the true Orlando; his creative purpose, to record the life of his subject honestly, is compromised by his inability to see past gender. His failure to see Orlando as ‘woman-manly or man-womanly’ but rather only seeing him as either man or woman, one or the other, is perhaps the biographer’s biggest failure and thus he is denied the creative freedom to accurately record the life of Orlando. As M akiko Minow-Pinkney writes: ‘Androgyny in Orlando is not a resolution of oppositions, but the throwing of both sexes into a metonymic confusion of genders.’[10] This failure to recognize Orlando for what they truly are is shown in the biographer’s attempt to describe Orlando immediately after their transformation: ‘Orlando had become a woman – there is no denying it. But in every other respect, Orlando remained precisely as he had been.’ [Woof, pp. 83] The biographer struggles to resolve the opposition of Orlando’s sexed body, for the sex of Orlando’s body is a subject in which there has been consistently ‘no doubt’ or ‘denying’, with Orlando’s subjectivity. To the biographer Orlando is the same and not the same simultaneously, the biographer unable to make any sense whatsoever of Orlando’s cultural intelligibility. By failing to comprehend Orlando’s androgyny the biographer is denie d the creative freedom to succeed in writing a biography of his subject that is ‘based upon fact’. Unlike the biographer, Orlando themselves seems to inhabit the rejection of gender that Woolf calls for in A Room of One’s Own. Their life in England is defined by a collage of performative acts that to the biographer signal a constant to-and-froing from male to female, but to Orlando these performative acts are not gendered. Instead they have freed themselves from gender so these acts are genderless, they are simply undefined or unregulated actions. The biographer writes that: ‘The curious of her own sex would argue, for example, if Orlando was a woman, how did she never take more than ten minutes to dress? And were not her clothes chosen rather at random, and sometimes worn rather shabby? And then they would say, still, she has none of the formality of a man, or a man’s love of power. She is excessively tender-hearted.’ [Woolf, pp. 111] The biographer notes how Orlando performs acts that by his limiting view of gender are deemed male or female which are in direct conflict with her sex. She cannot be a woman as she takes no care in how she dresses, yet neither can she be a man as she has none of the sternness or formality necessary. She is something in between man or woman, but the biographer is unable to recognise or name what that thing is. Orlando, by performing acts that distorts the biographer’s understanding of them, refuses to pass as either man or woman. The writer Sandy Stone writes of passing that it ‘means to live successfully in the gender of choice, to be accepted as a natural member of that gender. Passing means the denial of mixture. One and the same with passing is effacement of the prior gender role’.[11] To pass in Orlando’s case would be to accept and live up to the expectations of their now female sexed body; to take longer than ten minutes to dress and refuse to look sh abby. Orlando, by refusing to pass as either male or female, is accepting that before they were gendered as male and now they are gendered as female. By refusing to pass Orlando lives freely from what was expected of them before their transformation and what is expected of them now. By living a life that is androgynous by the standards set out by Woolf in A Room of One’s Own Orlando lives free from the expectations set out for them by society, they free themselves from the limitations of gender. The freedom to live as one wishes or to write as best as one can is, according to Woolf, dependant on the surpassing of gender. To surpass gender is to live androgynously, to live beyond the limitations that gender creates. Woolf often explores the concept of freedom as something which is hard to attain. It is perhaps only due to the fantastical nature of Orlando’s life, one that spans many centuries and treats gender so casually, that freedom is achieved. Likewise, perhaps the idea that gender should be abandoned entirely in A Room of One’s Own is far too utopian or idealistic to ever have any chance of becoming the default for the artistic mind. Androgyny, as equally hard to achieve as it is to describe, is perhaps too unrealistic a state to be the goal of either the individual or the artist. Freedom, therefore, is often a fantasy or merely a theory. But nevertheless, Woolf presents a form of androgyny that offers the possibility of freedom from gender, just one of ma ny discourses that often deny us, individual or artist, the freedom we desire. Works Cited [1] Sandra Bem, ‘Androgyny and Gender Schema Theory; a Conceptual and Empirical Integration’, in Psychology and Gender, ed. by Theo B. Sonderegger, (Nebraska; University of Nebraska Press, 1984), pp. 189 190 [2]Judith Butler, Gender Trouble, (New York: Routledge, 1999), pp. 23 [3] Virginia Woolf, ‘The Art of Biography’, in Virginia Woolf Selected Essays, ed. David Bradshaw, (Oxford; Oxford University Press, 2009), pp. 120 [4] Virginia Woolf, Orlando, (Oxford; Oxford University Press, 2015), pp. 11 [5] Christy L. Burns, ‘Re-dressing Feminist Identities: Tensions Between Essential and Constructed Selves in Virginia Woolf’s Orlando’, Twentieth-Century Literature 40.3 (1994), pp. 346 [6] Virginia Woolf, A Room of One’s Own and Three Guineas, (London; Penguin, 1993), pp. 89 [7] Mary Jacobus, ‘The Difference of View’, in Women Writing and Writing About Women, ed. by Mary Jacobus, (New York; Routledge, 2012), pp. 20 [8] Marilyn R. Farwell, ‘Virginia Woolf and Androgyny’, Contemporary Literature, 16.4 (1975), pp. 447 [9] Lisa Rado, ‘Would the Real Virginia Woolf Please Stand Up? Feminist Criticism, the Androgyny Debate, and Orlando’, Women’s Studies, 26.2 (1997), pp. 151 [10] Makiko Minow-Pinkney, Virginia Woolf the Problem of the Subject, (Brighton; Harvester Press, 1987), pp. 122 [11] Sandy Stone, ‘The Empire Strikes Back: A Posttranssexual Manifesto’, The Transgender Studies Reader, ed. by Susan Stryker and Stephen Whittle, (London; Routledge, 2006), pp. 231

The Works of Poet Carl Sandburg and His Effect on American...

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Violencia domstica - Recursos para inmigrantes

En Estados Unidos, la violencia domà ©stica es un delito. Y la ley protege, ampara y ofrece recursos para los inmigrantes que son và ­ctimas de este crimen, cualquiera que sea su estatus legal: residentes permanentes, personas con visas temporales, visitantes e indocumentados. Al mismo tiempo, castiga a las personas condenadas por este tipo de conducta. Aunque la mayorà ­a de las và ­ctimas son mujeres y nià ±os, tambià ©n pueden serlo los hombres. En el caso de violencia domà ©stica en el seno de una pareja, no es necesario que està © legalmente casada para considerar que existe este delito: basta con compartir vivienda o que tengan una relacià ³n sentimental. Quà © es la violencia domà ©stica Si la và ­ctima es una persona adulta, para que exista este delito en el à ¡mbito familiar debe producirse una situacià ³n en la que uno de los miembros de la pareja causa repetidamente daà ±o fà ­sico o emocional a su compaà ±ero o compaà ±era. Ademà ¡s, es suficiente para que se considere que hay delito si hay un patrà ³n de comportamiento de amenazar a la otra persona con causarle daà ±o. Asà ­, es violencia domà ©stica pegar a la pareja, obligarla a tener relaciones sexuales de cualquier tipo, humillarla, intimidarla o manipularla emocionalmente, aislarla de su familia o amigos y amenazarla con perjudicarla econà ³micamente o causarle daà ±o por razà ³n de su estatus migratorio. Es importante recordar que, a diferencia de lo que puede ocurrir en otros paà ­ses, en Estados Unidos es un delito obligar a otra persona a realizar cualquier acto de naturaleza sexual sin su consentimiento, incluso cuando esa situacià ³n sucede entre esposos. Se considera como un asalto sexual y, por lo tanto, es un crimen.   Los nià ±os tambià ©n pueden ser và ­ctimas de violencia domà ©stica. Esto ocurre cuando se les causa un daà ±o fà ­sico sin ser accidentalmente. Tambià ©n se comete este delito cuando se abusa sexualmente de un menor o cuando las personas responsables de su bienestar no le dan alimento, cuidados mà ©dicos o cobijo. Incluso cuando no se les cuida y supervisa adecuadamente, se abusa psicolà ³gicamente de ellos mediante amenazas y, tambià ©n, cuando se les niega un mà ­nimo de carià ±o. Quà © hacer si se sufre violencia domà ©stica Los Estados Unidos protege civil y criminalmente a las và ­ctimas de violencia domà ©stica cualquiera que sea su raza, religià ³n, grupo à ©tnico, nacionalidad e, incluso, estatus migratorio. Si alguien està ¡ en peligro o cree que puede estarlo, la primera media a tomar es llamar a la policà ­a al 911. Los agentes acudirà ¡n y tomarà ¡n las medidas inmediatas que consideren oportunas. Hay que recordar que cualquier persona puede poner una denuncia con la policà ­a. No hay que ser ciudadano ni residente. Pero es muy importante contar desde el principio con asesorà ­a legal. Tambià ©n cualquier persona puede buscar proteccià ³n ante la Corte para pedir una orden de alejamiento contra el abusador. Si à ©ste a su vez hace una acusacià ³n contra la và ­ctima, à ©sta tiene derecho a un abogado y a no realizar ninguna declaracià ³n que, con el tiempo, pudiera perjudicarle. Si este es el caso conviene hablar con un abogado especialista en criminal y tambià ©n es buena idea hablar con un abogado de inmigracià ³n. Ayuda disponible para TODAS las và ­ctimas de violencia Todas las personas que viven en EEUU, cualquiera que sea su estatus legal, pueden marcar a los siguientes nà ºmeros de telà ©fonos gratuitos a cualquier hora del dà ­a o de la noche y cualquier dà ­a de la semana, incluyendo sà ¡bados y domingos a: Là ­nea abierta nacional contra la violencia domà ©stica: 1-800-799-7233Là ­nea abierta de la red nacional contra el asalto sexual, violacià ³n, abuso e incesto (RAINN, por sus siglas en inglà ©s): 1-800-656-4673Centro nacional de nià ±os desaparecidos y explotados: 1-800-843-5678Centro nacional para và ­ctimas de crà ­menes: 1-800-394-2255Los mexicanos pueden marcar gratuitamente al telà ©fono del CIAM donde recibirà ¡n informacià ³n y ayuda. Estas organizaciones cuentan con intà ©rpretes en varios idiomas y pueden ofrecer informacià ³n y dar un contacto local para que las và ­ctimas puedan recibir ayuda. Las và ­ctimas pueden ser mujeres pero tambià ©n varones. Y la situacià ³n de violencia domà ©stica puede darse en una situacià ³n de parejas heterosexuales o tambià ©n entre dos hombres o dos mujeres. Esto no importa. Es tambià ©n un delito. Los servicios gratuitos que se pueden llegar a ofrecer a las và ­ctimas incluyen atencià ³n mà ©dica, vivienda de emergencia, apoyo psicolà ³gico, servicio de intà ©rpretes, asistencia legal, incluso abogado gratuito o pagando una cantidad reducida de dinero y, si fuera necesario, ayuda econà ³mica. Violencia domà ©stica e inmigracià ³n Las và ­ctimas de violencia domà ©stica pueden solicitar la legalizacià ³n migratoria para sà ­ mismas y para sus hijos solicitando la cancelacià ³n de la deportacià ³n: Pidiendo acogerse a los beneficios de la Ley de Violencia contra las Mujeres (VAWA)o solicitando una visa U  o una visa T, si se ha sido và ­ctima de trà ¡fico de blancas.El programa SIJS para menores de 21 aà ±os và ­ctimas de abusos, maltratos y negligencias. Todas las peticiones son confidenciales. Ademà ¡s,   mà ¡s allà ¡ de la violencia domà ©stica es conveniente saber quà © es el asalto sexual. Quà © sucede con los victimarios Las personas condenadas por violencia domà ©stica pueden pueden ser castigadas de distintas maneras, incluido el envà ­o a prisià ³n. Ademà ¡s, si el culpable no es ciudadano puede arruinar sus posibilidades de obtener beneficios migratorios e incluso puede ser deportado. Este artà ­culo es meramente informativo. No es asesorà ­a legal para ningà ºn caso concreto.

Steve Jobs An Effective Leader Of The Company - 1325 Words

A young man, who was adopted as a child by middle-class parents, developed an interest for electronics and grew to become one of the most valuable visionaries to ever grace our electronic devices. Many other industry leaders acknowledge him as being one of the most innovative. Steve Jobs was co-founder of Apple Computer, and a successful leader in the world of technology. He was successful in, not only creating cutting-edge products but, building a company where employees were malleable to his charismatic style of leadership. According to our textbook, Steve Jobs personified Edward Ghiselli’s traits of need for achievement, intelligence, decisiveness, self-confidence, initiative, and getting the job done through others; here applies the trait theory of leadership that proves he was an effective leader of the company that he grew to be a success. Jobs sought out the responsibility to create a product that people can use. He wanted to change the world of computing and he worked hard to develop his ideas. While he was highly intelligent, his decision-making skills were not always good nor did he always use reasoning. â€Å"Intuition is a very powerful thing, more powerful than intellect, in my opinion† says Jobs when speaking about the culture shock he experienced when traveling between America and India (Isaacson, 2011, pg.48). He felt that westerners tend to think more rationally than those in villages of India who embody more power of experiential wisdom and intuition.Show MoreRelatedLe adership Is An Important Element Of The Management Function Essay983 Words   |  4 Pages1 Steve Jobs CEO, Apple Introduction Leadership is an important element of the management function. Leadership involves ability to integrate human resources and firm’s goals. Different situations may warrant different kinds of leadership. A business leader knows how to motivate people, accomplish goals, and get things done quickly. 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He s been hailed as a genius and the greatest CEO of his generation. I have heard that he was a high-maintenance supervisor who demanded excellence from his staff and was known for his blunt delivery of criticism. He was a very talentedRead Moresteve jobs leadership style Essay1105 Words   |  5 Pages Steve Job’s Leadership Style. Hoang Vu Dang Ha Bristol University Steve Job’s Leadership Style. Leadership style is a leaders style of providing direction, implementing plans, and motivating people. There are many different leadership styles such as leaders in the political, business or other fields. Steve Jobs (24th February, 1955 – 5th October, 2011) is one of the most remarkable leadership people in modern history and he is well-known as the co-founder

The Side Of Getting Comprehensive Immigration Reform

Jonathan Mejia Dr. Luttrell Composition II 3/9/16 Toulmin Argument Immigration is a major topic in the Immigration presidential Race right now. I am on the side of getting comprehensive immigration reform. Reform is the term used in political discussion regarding changes to the current immigration policy. In the political sense of the word, immigration reform may include promoted, expanded, or open immigration, as well as reduced or eliminated immigration. Comprehensive immigration reform has eluded Congress for years, moving decisions into the executive and judicial branches of government and pushing the debate into the halls of state and municipal governments. Meanwhile, the fates of the estimated eleven million undocumented immigrants in the country, as well as future rules for legal migration, lie in the balance. I believe the government should provide a fair path to citizenship for the millions of people living in the United States illegally because most people come to America for better lives. Donald Trump is the leading candidate for the repu blicans in this year’s election. He is known for his extreme views and opinions on immigration. I will analyze Trump’s arguments to counter against mine to make my argument the best that it can be. Donald Trump has expressed his solution to the immigration issue is to stop it completely. I ll build a great wall - and no one builds walls better than me, believe me, and I ll build them very inexpensively - I will build aShow MoreRelatedUnited State government has tremendous problem that they continuously agitate. One of the problems1300 Words   |  6 PagesUnited State government has tremendous problem that they continuously agitate. One of the problems they are facing is immigration system. 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Competitive Strategy for Legal and Environmental-myassignmenthelp

Question: Discuss about the Competitive Strategy for Legal and Environmental. Answer: Introduction Development tools have a great role in operating the overall activities of the company. In this paper, the development tools which will be taken into consideration are SWOT, PESTLE AND Porter five forces. The discussion will be made on the tools with the examples related to Estia which is one of the largest age care company. These tools assist the company in operating the activities so that goals and objectives can be attained. Pestle Analysis This is one of the tools which help to analyze the external factor of the company. There are various factors which are related to this analysis like political, social, economic, technological, legal and environmental. This analysis is conducted so that market situation can analyze in a proper manner. On this analysis, the managers or the top management give more focus so that proper directions can be given. In this political factor has a connection with the rules and regulations imposed by the government. The economic factor is related to inflation and deflation and the overall impact is given on the prices of the services and products which are given. Next factor is a technological factor in which latest technologies are considered so that activities can be conducted smoothly (Porter and Kramer, 2019). Next factor is related to the environment in which surroundings and environment are analyzed so that according to that operations can be completed. The last factor is a legal factor in which the emphasis is given on the rules that are implemented by the companies so that activities can be completed by considering proper policies (Weerawardena and Salunke, 2017). Example Political factor It is analyzed that organization is giving focus on maintaining proper partnership by considering both private as well as public sector. Expenditure on public health is low if a comparison is made with the developed countries. The government provides drugs and also there are many medical types of equipment which is taken into consideration so that companies who are from health sector can achieve growth. When Estia conducts the activities, proper rules related to labor law and other are taken into consideration (Tan and Sousa, 2015). Economic factor It is seen that the policies related to government policies also offer opportunities so that the infrastructure of the healthcare can be maintained. It is analyzed that private sectors give healthcare services in an effective manner. It is seen that behavior related to spending can be enhanced by the people and also, they can avail the services of healthcare in a proper manner (Wagner III and Hollenbeck, 2014). Socio-cultural factor It can be evaluated that in Estia the people are taken into consideration who is old and proper assistance and care is given to them. It can also be analyzed that in Australia the overall rate of population is high and the people who are aged are moving towards old age homes so that proper care can be taken. Technological factor Technological factor the healthcare system in Australia has to face a huge pressure just because of the technologies. But Estia focuses on considering the technologies which help the company to achieve success in the market. Legal factor The company gives emphasis on maintaining proper employment law and also health and safety law so that people who are aged can care properly. Environmental factor Estia gives emphasis in managing the overall waste and also recycling of the waste so that environment can be clean. Swot Analysis This framework is related to analyzing the overall strength, weakness, opportunities, and threats prevailing in the market. This tool assists the company to consider the strategies so that threats can be minimized in a proper manner. This tool collects the information of the company internally. In this tool, the focus is given by the managers or the directors so that in the competitive environment company can achieve growth in an effective manner. By giving emphasis to this tool the company can achieve overall goals of the company in a proper manner (Blockeel et al., 2016). Example Strength The strength of the company is related to the image of the company. The company has a good image in the market which helps to accomplish goals and objectives in a proper manner. If the emphasis is given to the overall financial position then the company is in a good position and also there are sufficient resources that can be offered to the customers. Weakness It can be evaluated that company should give focus on considering the updated technologies so that growth and goodwill can be maintained in the market. The company has also focused on the proper integration of the process and due to this issue has been faced by the organization. It is seen that major issue faced by the company is related to the challenges that take place due to the new entry into the market (Bull et al., 2016). Opportunities The organization has various opportunities but right time is required to grab that opportunity. It can be analyzed that many consumers are engaged in doing online business. So, the company is giving emphasis in focusing on investing in the online platform so that customers can get assistance from anywhere. Threats There are many problems that arise due to the fluctuation in the laws and it is seen that it has affected the standards of the company. Up and down in the currency rate has also affected the growth of the business. Porter Five Forces Analysis This framework gives emphasis in evaluating the situation of the market so that success can be attained. On this tool, the focus is given by the top-level management and it evaluates the overall need for the services (Ginter, 2018). Example Bargaining power of suppliers When emphasis is given to the healthcare sector it can be evaluated that it gives impact on the suppliers as there are many suppliers who are engaged in the activities. The threat of new entrants It can be analyzed that when new entries take place the effect is seen on the overall growth of the company. Estia has to face pressure due to low price strategy. The threat is high in this sector. Bargaining power of buyers It can be evaluated that demand is high for the buyers. They focus on the services which are best and also of the fewer prices. It can be analyzed that by giving good services the company can easily achieve large market share and can enhance the growth in a proper manner. Threats of substitutes It is high in this sector as there are many other companies who offer same types of services to the customers. The company can minimize the threat by focusing on a service-oriented firm. To manage cost one of the factors that help the company to achieve growth. Rivalry against the competitors It is also high as there are many competitors in the market of the same sector. This factor gives an indication to the firm to reduce the cost so that competitive advantage can be achieved in a reporting manner (Laszlo and Zhexembayeva, 2017). Conclusion So, it is analyzed that the company should give emphasis on enhancing the overall market share. The company should adopt innovative services which attract the attention of the customers towards the company. References Blockeel, C., Drakopoulos, P., Santos-Ribeiro, S., Polyzos, N.P. and Tournaye, H., 2016. A fresh look at the freeze-all protocol: a SWOT analysis.Human reproduction,31(3), pp.491-497. Bull, J.W., Jobstvogt, N., Bhnke-Henrichs, A., Mascarenhas, A., Sitas, N., Baulcomb, C., Lambini, C.K., Rawlins, M., Baral, H., Zhringer, J. and Carter-Silk, E., 2016. Strengths, Weaknesses, Opportunities and Threats: A SWOT analysis of the ecosystem services framework.Ecosystem services,17, pp.99-111. Ginter, P.M., 2018.The strategic management of health care organizations. John Wiley Sons. Laszlo, C. and Zhexembayeva, N., 2017.Embedded sustainability: The next big competitive advantage. Routledge. Porter, M.E. and Kramer, M.R., 2019. Creating shared value. InManaging Sustainable Business(pp. 327-350). Springer, Dordrecht. Tan, Q. and Sousa, C.M., 2015. Leveraging marketing capabilities into competitive advantage and export performance.International Marketing Review,32(1), pp.78-102. Wagner III, J.A. and Hollenbeck, J.R., 2014.Organizational behavior: Securing competitive advantage. Routledge. Weerawardena, J. and Salunke, S., 2017. Resolving the Market Learning-Firm Competitive Advantage Debate, an Empirical Investigation: An Abstract. InMarketing at the Confluence between Entertainment and Analytics(pp. 699-699). Springer, Cham

Borobudur Stpa Essay Example For Students

Borobudur St?pa Essay The splendiferous monument Borobudur which stands surrounded by volcanoes in the middle of the Kedu plain in central Java is indubitably one of the noblest buildings to have sprung from the Buddhist faith and is one of the worlds finest religious founda tions. It stands to convey an extraordinary impression of the ultimate tranquility which Buddhism affords to its believers. That it does so is an architectural achievement of the highest order and testifies to the successful manner in which structure and decoration have been treated together to produce a coherent whole. Great ingenuity is demonstrated in the lay-out. It is the only stupa in Java which is rich in other types of Buddhist monuments. It is a unique product of genius and it is this uniqueness which makes its interpretation so difficult. The stQpa of Borobudur goes back eleven centuries. In about 800 a.d. a king of the Sailendra Dynasty immortalised his faith in the Buddha in an unexampled monument, conceived and concretised by a poet, philosopher, and architect, named Gunadharma. Gunadharma sallied forth into the mountains of Menorch, his heart rapturous in the hope of transcreating adoration along the path of unending time. Gunadharma, after a long meditation and an indepth study of the great Buddhist Classics, conceived the Borobudur as we know it today. Tradition has it that the architect Gunadharma is integrated into the mountain range of Menorch, where you can see the silhouette of his chin, mouth and nose. The name of the Borobudur has been an enigma. Some have derived bara from vihdra meaning a complex of temples and mona steries, and budur heralds the Balinese word beduhur meaning above. Thus the word signifies a high, eminent or supreme mona stic complex.1 Prof. Casparis explains it as an abbreviation of a com pound word which means, The monasteries of the accumulation   of virtue in the ten spiritual stages in the meditation of a Bodhi sattva 2 Whatever the origin of the word, it does represent the ten stages in mans ascent from the baser world of lust and passion into the highest realms of iiinyatd, which are known as daSa-blmmi or it may also stand to mean date ku £altini* namely the ten sins: pdnalipdto (killing); adinndddnam (stealing); kdmesu mikkliaknro (impurity); musdvddo (lying); pisund-vdkd (slander); pharusdvakd (harsh language); samphdppaldpo (frivolous talk); abfiigglia (covetous ness); vydpddo (malice); mikklidditthi (false doctrine) in the Buddhist philosophy. As one approaches the Borobudur, one is in the presence of a replica of the universe which is three-fold namely kdmadhdtu, rupa-dhdtu, Ð °Ã ³Ã ¹Ã'€Ð °-dhdtu, and beyond these three wo rlds is the Sunya.5 However, the basic lay-out of the building is simple: four square terraces set upon the basement platform and surmounted by three circular terraces which support a stiipa. Each four square terraces are provided with an exterior wali so that there is an enclosed pathway around each level of the monument. A stair-case with lavishly decorated archways leads to the top of the monuments from the middle of each side of the square. The lowest base re presents the kama-dhdtu or the phenomena! world, the world of baser passions. Kdma, desire of senses is one of the four aSvas and is the first of the six factors of existence, the elimination of which is essential for liberation from re-birth. The six are kdma, vedaiid, sanita, dsvds, kamma, and dukkJia The basement has 160 reliefs which have been drawn from a religious text, the Mahakarma Vibhanga. This text deals with the Buddhist system of rewards and penalties for right and wrong actions, a system subsumed in the term karma7 which has been translated loosely as fate. Both the nature of the text and the il lustrations of it, which are found on Borobudur, make it clear that it is addressed primarily to laymen w hose function in Buddhism is to gain merit by supporting the monks. .uf030a22b0193130115d68a12fc35f5b0 , .uf030a22b0193130115d68a12fc35f5b0 .postImageUrl , .uf030a22b0193130115d68a12fc35f5b0 .centered-text-area { min-height: 80px; position: relative; } .uf030a22b0193130115d68a12fc35f5b0 , .uf030a22b0193130115d68a12fc35f5b0:hover , .uf030a22b0193130115d68a12fc35f5b0:visited , .uf030a22b0193130115d68a12fc35f5b0:active { border:0!important; } .uf030a22b0193130115d68a12fc35f5b0 .clearfix:after { content: ""; display: table; clear: both; } .uf030a22b0193130115d68a12fc35f5b0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf030a22b0193130115d68a12fc35f5b0:active , .uf030a22b0193130115d68a12fc35f5b0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf030a22b0193130115d68a12fc35f5b0 .centered-text-area { width: 100%; position: relative ; } .uf030a22b0193130115d68a12fc35f5b0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf030a22b0193130115d68a12fc35f5b0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf030a22b0193130115d68a12fc35f5b0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf030a22b0193130115d68a12fc35f5b0:hover .ctaButton { background-color: #34495E!important; } .uf030a22b0193130115d68a12fc35f5b0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf030a22b0193130115d68a12fc35f5b0 .uf030a22b0193130115d68a12fc35f5b0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf030a22b0193130115d68a12fc35f5b0:after { content: ""; display: block; clear: both; } READ: Craft and Art EssayFrom the world of passions or of kdma we reach the world of riipa dhdtu or Form.8 It consists of four square galleries or terraces, with a chain of large niches, which contain Buddha images, culi minating in miniature stupas.   The four square terraces in Buddhist philosophy may also re present dwthvdrydrya satydm? diatitfralokapdldh10 namely the Four Guardians of the World; dhaturattho, virulho or virulhako, virupakkho, vessavano or chatxtirobraUmavilidrah, the Four Perfect States or diatvdri saiigrahawstuni;12 the Four Elements of Popularity or diat vdki smrthya prasthdndni;13 the Four Earnest Mediations namely kdydnu-passamid, iedandmi-passafind, ki ttdtiu-passannd and dhammdnu passatvid; or dxatvdri-samyakprahandni, the Four Right Exertions. But a more complex theology emerges when we consider the Buddha figures enshrined in the niches on the facades. On each side of the monument there are 92 statues arranged in four rows which correspond with the four terraces. The figures represent: seated Mdnu$i-Buddha$ and Dhydni-Buddlias Akshobhya, Ratna Sambhava. Amitdbha and Amogha Siddhi who are associated with the four cardinal points. The legends of Maitreya and Saman tha-bhadra are also sculpted in the third and fourth terraces. Above these four-fold ranks there is a fifth line common to all sides of the monument whose niches house Vairochana. The walls of the terraces are adorned with reliefs portraying life scenes and Jatakas in exactitude to the texts enjoined in Jdtakamdla, Avaddnas Lalitavistara, and Gandavyuha. As befits , the walls are also embellished with a variety of designs of kdlamakara]4 foliage, flowers and spiral ornaments. Above the four terraces of the Ð ³Ã ¹Ã'€Ð °-dhdtu, we reach the higher domain of arupa-dhdtu, the World Beyond Form.15 Here tranquility and serenity prevails and the atmosphere indicates the realm of meditation. There are three circular terraces in concentric circles around the main stupa at the top. There are a number of stupas of which a particular type is found only at Borobudur. These stupas which are constructed with half-open walls, number thirty-two, twenty-four and sixteen on the three successive terraces. Each houses a figure of yet another Dyani-Buddha, Vajra sattva, who is generally accepted as being the highest of these Buddhas; indeed treated almost as a supreme deity in some schools of Buddhism. Again, the latticed stupas with Buddha images represent the near-highest manifestation of Ultimate Reality. There is a striking difference in this sphere and the previous one. There are no reliefs nor any ornamentations. The pilgrim is initiated into the higher sphere of ariipa, where decoration is no longer relevant and the   mysterious chairoscuro of the Buddha, in the latticed stupas, lends a sublimity to the entire atmosphere. The continuous repetition of the same truth is an affirmation of reality. Repetition is eternity. While the lower stages are material and massive, the higher ones rise in simplicity of silence.16 The very presence of latticed stupas numbering thirty-two, twenty-four, and sixteen on the three successive terraces is quite significant and has Buddhist philosophical meaning. Thus, the row of thirty two stupas, may represent dvathrim-Salakshanani. the Thirty Two Signs of Perfection17. Similarily, the twenty-four stupas in a row connote chaturvimSa-tirtlpakleidh, the Twenty Four Minor Evil Passions,18 while the sixteen stupas probably stand for the Sixteen Patimokkha , disciplinary rules binding a bhikkhu}9 The three circular terraces, in concentric circles around the main stupa, have again Buddhist ideology transmuted in them. The three circular terraces may stand for triratnas,20 the Three Treasures: Buddha, Dharma, Sangha; or Thrayovimoksha(21 the Three Kinds of Salvation namely sunnatavimoko (void); animiltavimokho (uncondi tioned), apparihtavimokho (passionless); and mahavyupt. Beyond the three circular terraces is the main stupa. Culmi nating in the centre, it forms the crown of the entire monument. Inside is an open space which is empty. It is the iiinya,22 the Absolute, the monument of silence, the highest expression of truth in the quest of the sddhaka While the sadhaka ascends the Boro budur on to higher terraces, he proceeds to higher domains of spiritual life. In a similar manner the Buddha gradually manifests himself downwards in order to be approachable to beings. It is the descent of the Divine on this earth . The pilgrimage can be seen as an account of the history of Buddhism and of the doctrine which the Buddha expounded. On the exterior of the platform are the depictions of the inexorable laws of karma. As he enters the first of the circumambulatory ter races, the pilgrim sees the way in which the Buddha prepared for his role by a succession of previous lives (the Jdtakas and avddna panels), is born to his last existence, receives enlightenment and preaches the first sermon in which he expounds the doctrine which releases men from the laws of karma; all of which this monument emphasizes. .udb77b89571a0ff515e2ac40193a0169d , .udb77b89571a0ff515e2ac40193a0169d .postImageUrl , .udb77b89571a0ff515e2ac40193a0169d .centered-text-area { min-height: 80px; position: relative; } .udb77b89571a0ff515e2ac40193a0169d , .udb77b89571a0ff515e2ac40193a0169d:hover , .udb77b89571a0ff515e2ac40193a0169d:visited , .udb77b89571a0ff515e2ac40193a0169d:active { border:0!important; } .udb77b89571a0ff515e2ac40193a0169d .clearfix:after { content: ""; display: table; clear: both; } .udb77b89571a0ff515e2ac40193a0169d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udb77b89571a0ff515e2ac40193a0169d:active , .udb77b89571a0ff515e2ac40193a0169d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udb77b89571a0ff515e2ac40193a0169d .centered-text-area { width: 100%; position: relative ; } .udb77b89571a0ff515e2ac40193a0169d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udb77b89571a0ff515e2ac40193a0169d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udb77b89571a0ff515e2ac40193a0169d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udb77b89571a0ff515e2ac40193a0169d:hover .ctaButton { background-color: #34495E!important; } .udb77b89571a0ff515e2ac40193a0169d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udb77b89571a0ff515e2ac40193a0169d .udb77b89571a0ff515e2ac40193a0169d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udb77b89571a0ff515e2ac40193a0169d:after { content: ""; display: block; clear: both; } READ: Art invades craft EssayAlso as a stfipa, the monument symbolizes the moment of the Buddhas own achievement of mrvdna, an event which is not   otherwise illustrated at Borobudur. But the doctrine has more esoteric truths to reveal than the simple historical teachings of Gautama; the story of Sudhanas search for these is now recounted in a stylized and restrained manner, for we are beyond the point of folk narrative and moving into the realm of metaphysics. This becomes clear on the circular terraces, where the reliefs cease, and thence at the Central Stupa where even the Dhyani-Buddhas have disappeared. Yet, if we consider the Dhyani-Buddhas upon the facades and the circu lar terraces as being in a sense the spiritual shell surrounding the whole monument, then it can be seen as cosmos, a universe of which the Central Stupa with its lofty mast, now missing, is the world axis, the Sumeru of the Indian cosmo logies.24 Thus, amazingly, the Borobudur stupa echoes the Buddhist ideologies imbibed in the architectural entities which formed part of it.