Slic3r vs Skeinforge Assignment Example | Topics and Well Written Essays - 3750 words

Slic3r versus Skeinforge - Assignment Example It is utilized in printers to change over 3D model into G-code guidelines. Slic3r is a PC device that is utilized in printing gadgets to change over advanced 3D directions into 3D printer (James, Floyd and Patrick 35). It was created in 2011, and it is one of a kind in light of the fact that isn't situated in past. The product is accessible in bundles like Linux, Windows and MacOS X. Our principle target of the investigation was to figure out which programming to when performing 3-D printing. Our information was gathered utilizing interviews from people who had an involvement in the software’s. Other than that, the software’s were tried in the lab utilizing 3D printers. The information was recorded on table structure. On investigation, we discovered that the slic3r is the best with 75 % for it. The product has a large portion of i8ts alternatives robotized henceforth easy to utilize. Skein produce had a discourse box with such a large number of highlights that entangles it when utilizing consequently not easy to use. Official Summary In our task, we have looked at skein manufacture and slic3r software’s that are utilized in printing of 3D objects. With the rise of new programming in the market, it is a perfect second to get the best software’s for a particular undertaking. It gives the idea that each intrigue/aptitude level there is a perfect programming bundle. In programming domain, there are programming bundles for cutting and furthermore programming applications for printers. In printing the generally utilized bundles are skein fashion and slic3r. ... Print. 18 Executive Summary In our task, we have looked at skein produce and slic3r software’s that are utilized in printing of 3D objects. With the rise of new programming in the market, it is a perfect second to get the best software’s for a particular undertaking. It creates the impression that each intrigue/aptitude level there is a perfect programming bundle. In programming domain, there are programming bundles for cutting and furthermore programming applications for printers. In printing the for the most part utilized bundles are skein produce and slic3r. Printer applications use the two applications when offering as they convert records to code. Both skein produce, and slic3r makes code however slight contrast in results. The paper features the contrast between the silc3r and skein fashion programming and the proposal of the most suitable programming. The information is broke down which shows the clients of the 2 programming, wherein Slic3r is generally utilized than skein fashion. This shows slic3r has a greater number of points of interest than skein fashion. Our goal was planned for deciding the best programming for suggestion particularly in business exercises. This task is planned for making attention to the distinction between skein manufacture and slic3r programming. The venture will guarantee that the peruser can recognize the most relevant programming. The venture will likewise guarantee that business association can distinguish the most proper programming between skein fashion and slic3r. Organizations, which oversee programming, will likewise acquire information about their items. They will have the option to disclose to clients on the most proficient method to utilize the product. The Information innovation firms will sell the most suitable programming and pull in more clients. At long last, this undertaking helps the understudy in basic deduction since by conversation of results one addition more information in

Recruitment and Selection in McDonalds †MyAssignmenthelp.com

Question: Talk about the Recruitment and Selection in McDonalds. Answer: Presentation of Recruitment and choice in McDonalds McDonald's is considered as the greatest family eateries business all inclusive. The vision of the organization is to offer a best eateries administration experience. To achieve this organization gives the primary accentuation on improving fulfillment level of the buyers. The organization offers a various working society and furthermore individuals want a meeting from all foundations that give positive methodology. At the point when the organization recruits the team part, Hire the grin is the arrangement that is thought of. Recruit the grin strategy gives an inspirational viewpoint to the workforce and consequently neighborly condition is assessed. McDonald's employed cheerful individuals as well as help them to be upbeat by leading each movement (Taylor, 2014). The organization offers rewards and advantages that improve the inspiration level of the representatives. The choice is made by considering the best applicant and furthermore after that the successful instructional courses a re given so they can direct their everyday tasks effectively. The organization likewise offers help and open doors for all the potential representatives who are working with the renowned worldwide food brand. In the wake of finishing the employing procedure, the individuals are assembled to go to the welcome conference at their enlistment place (Rashid and Ghose, 2015). Procedure of Recruitment and choice in McDonalds The organization has thought about three kinds of the application procedure for the possibility to guarantee that they are directly for the activity. The first round of the meeting is done on the web, through which applicants need to experience different inquiries. On the off chance that the competitor is chosen in the first round, at that point the greeting is sent, for a meeting round with a Human asset official. In the wake of having the meeting with a Hr, the applicant is sent for an on work assessment and furthermore for the meeting with the chief. Hands on assessment is accomplished for two purposes, one is for get to the ability of the competitor and another is to permit the possibility to get to the workplace that it suits their style of working or not. Hands on assessment, the procedure takes 15 minutes and the applicant lead the exercises by considering the issue confronting regions and furthermore full guidelines are given so the real capacity can be examined (Chaneta, 201 4). Likewise from that point forward, the meeting is led with the business chief and it takes roughly 30 minutes to break down the working limit of the competitor. At the hour of choice the appearance, experience, PC abilities, administration aptitudes, great English relational abilities and expert capabilities are thought about (Vickers, McDonald and Grimes, 2014).The last choice procedure begins as follows: First step is introductory screening, and afterward the composed test is led, starting meeting, fitness test, reference check, last meeting and the last advance is movement. The fundamental advance in the determination procedure is composed test from which the information and ability of the competitor are investigated in an appropriate way (Breaugh, 2017). References Breaugh, J.A., 2017. to Recruitment.The Wiley Blackwell Handbook of the Psychology of Recruitment, Selection and Employee Retention, p.12. Chaneta, I., 2014. Enlistment and Selection.International Journal of Management, IT and Engineering,4(2), p.289. Rashid, S. what's more, Ghose, K., 2015. Authoritative culture and the formation of brand personality: retail food marking in new markets.Marketing Intelligence Planning,33(1), pp.2-19. Taylor, S., 2014. Enrollment and selection.Strategic Human Resource Management: An International Perspective,10(6), pp.139-14. Vickers, G., McDonald, M. also, Grimes, J., 2014. A crosscountry examination of best practices in enlistment and selection.Journal of Management and Marketing Research,15, p.1.

House on Mango Street Review free essay sample

The book being checked on is titled, The House on Mango Street and was composed by Sandra Cisneros and first distributed in 1984. The book follows a youthful Latina young lady experiencing childhood in Chicago as she goes on the exciting ride of life attempting to discover her direction. The story is told in a progression of vignettes. The cost of the book is $11. 00 and ISBN: 978-0-679-73477-2. Sandra Cisneros is notable for her verse and short story assortments; her capacity to interface a few short stories/vignettes is impeccable. The reason for this book was to recount to a story about growing up. Covering a time of the life of a Mexican-American young lady, Esperanza, who faces numerous difficulties as she discovers her own particular manner through this vital year of advancement both truly and intellectually/inwardly. My own view of the motivation behind this book was to uncover a portion of the social customs and conditions of a Mexican family living in America. We will compose a custom exposition test on House on Mango Street Review or then again any comparative theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Additionally, on the page before the Table of Contents, there is one page with the words â€Å"A las Muejeres†¦. To the Women†; obviously Cisneros proposed to have an effect of the lives of females. In any elegantly composed novel there are a few subjects. The fundamental topic that leaped out at me was the thought behind language and how it can characterize you. For instance, Esperanza discusses how her dad couldn’t settle on any decisions about what he would eat when he initially came to America since he wasn’t ready to convey in English; subsequently he ate â€Å"hamandeggs† for a quarter of a year since he didn’t know some other words in English. Likewise, when Esperanza’s mother composes a letter to the school and it doesn’t get a lot of positive consideration in light of the fact that it’s so written in broken English. At last, when the woman shows up to live with the man over the road, Esperanza calls her â€Å"mamacita†. Mamacita never comes out of the house and Esperanza thinks it’s in light of the fact that she doesn’t communicate in English; she sits and tunes in to Spanish radio the entire day and urges her child to â€Å"No communicate in English†. The proposal is that so as to have power in this nation, Esperanza won't just communicate in English, however ace the language. Cisneros portrays Mamacita as having a need to remain in the house constantly in light of the fact that she can’t communicate in English; significantly further, in light of the fact that she remains in the house throughout the day she is tragic and frequently battles with the man she lives with. Cisneros additionally uncovered Esperanza’s father’s decision to never eat ham and eggs again in light of the fact that he had to have it breakfast, lunch and supper when he initially resulted in these present circumstances nation. Both of these circumstances clarify the negative impacts of not communicating in English and how it leaves you frail in American culture. The House on Mango Street is a brisk perused that leaves a gigantic effect. Esperanza’s battles as an individual from a Mexican family in America are not segregated to relating just to Mexican-American families or other settler gatherings; each peruser can figure out how to identify with Esperanza’s story in this novel. Specifically, the exercise of become friends with Sally stuck out. Esperanza becomes a close acquaintence with Sally since she is beginning to be interested about young men. She finds that Sally is extremely famous among the young men and needs to spend time with her to gain their consideration too. In the end being associated with Sally drives Esperanza into a terrible and damaging experience. I imagine that our adolescents and youthful grown-ups in the public eye will truly resound with this piece of the novel and conceivably take in something from this story. Likewise, give unique consideration to the ladies Cisneros depicts as sitting by windows. Every one of these ladies speaks to a negative and practically vulnerable figure in the public arena for an assortment of reasons. Cisneros has gotten numerous honors for her work and has been globally perceived. Cisneros is the originator of the Macondo Foundation, a relationship of journalists joined to serve underserved networks. To get familiar with Sandra Cisneros, you can visit her site at www. sandracisneros. com. In the last section Cisneros composes â€Å"One day I will gather my packs of books and paper. One day I will bid farewell to Mango. I am too solid to even think about keeping me here forever†¦Friends and neighbors will say, ‘What happened to that Esperanza? ’† This is a significant articulation; it shows that Esperanza separates herself from this present life she’s encountering. That with her background and language capability she will escape from Mango Street, abandoning the individuals who are not sufficiently able to get out.

Japanese popular culture and Eastern media societies Case Study

Japanese mainstream society and Eastern media social orders - Case Study Example To a huge degree however, Japanese impact has been to a bigger degree that the others. The indigenous culture isn't without American impact. Despite what might be expected, a few segments of the American mainstream society that can be viewed as the worldwide culture have been adjusted by East Asian flavors to frame a culture that is globalized and indigenous to the area simultaneously. The multiplication of Japanese culture in the East Asian nations mirrors a lopsided impact. The way that the Japanese culture has a more noteworthy arrive at that the remainder of the regionâ's indigenous societies portrays Japanese dominion (Iwabuchi 2001, pp. 12). During the early long periods of Japanese visual industry, the greater part of the items were imports from Hollywood. In any case, the nation understood that the most ideal path forward was to indigenize and limit American mainstream society by deciphering the American plans to fit the Japanese setting. Because of the social vicinity, Japanese items found a group of people inside the other East Asia nations who could to a great extent relate their own way of life with that of the Japanese culture yet with much impact from the more unrivaled American culture, which different social orders think about present day and thus use it as their very own proportion culture against advancement. Since Japanâ's impact originated fro m the indigenization of the western standards, there is a cognizance that the remainder of the East Asian social orders could do likewise. Hence, Japanese culture stays prevailing because of the acknowledgment that its most noteworthy quality is the impact of the western goals and their limitation into the indigenous setting. The best weapon that the Japanese impact utilizes is the delineation of their way of life as being prevalent. This leaves the purchaser of an item like a TV dramatization longing for to be a piece of the fantasy that is portrayed in the show. In that capacity, individuals who

Shakespeare’s an Example of the Topic History Essays by

Shakespeare’s The two characters Richard, Duke of York and Henry, Earl of Richmond both plan for the fight to come by addressing their warriors, painting a direct opposite perspective on each other. Richmonds discourse to his officers summons privileged vengeance for the sake of friends and family and of his nation. In Act 5 and scene 3, the peruser is given Richmonds perspective. Prior to giving a discourse to his fighters, Richmond had envisioned that he was visited by his killed family members. His dead family members urged him to prevail upon this fight Richard who had killed them. This fantasy message turns into the fuel that lights Richmonds drive to vanquish Richard and his men. Need exposition test on Shakespeares theme? We will compose a custom exposition test explicitly for you Continue Richmonds manner of speaking, full true and assurance for his officers, crawls into the opening of his discourse in line 237 more than I have stated, adoring comrades. (p.140) Instead of seeing his troopers in a non-positioned way, Richmond unites them with him in fellowship thus his decision of word kinsmen. This implies his soldiers and him are end this together for hell's sake. Richmond bond is as one as noble men in line 245. Before giving his warriors the last motivational speech, Richmond helps them the sort to remember individual Richard is. His discourse hues Richard as a wicked dictator and murder. (line 246), a double crosser and a killer in line 255. Richmond is progressively worried about good vengeance as a demonstration of respect to his nation, to his comrades and to God. He utilizes influence as his blade slicing through the brutal truth of what has being going on. For example, in line 247 while portraying Richard as not a piece of compatriots, however as individual who wrecks men. By censuring to call Richard by name other than one or double crosser or dictator, Rchmond convinces the officers a virus image of a foe; Richard isn't one of them as showed in these lines one hath ever been Gods adversary/at that point on the off chance that you battle against Gods enemy,(252-254 ). The Duke of York proceeds with this technique all through his discourse, wandering aimlessly his words to develop the contempt that he has about his foe onto his troopers. He does this by reminding each warrior that he has an obligation for the benefit of God and to think about every one of their own lives if the fight isn't one. As depicted inside lines: God will in equity ward you as his troopers On the off chance that you do perspire to put a dictator down, You rest in harmony, the dictator being killed; In the event that you do battle against your countrys enemies, Your countrys fat will pay your torments the recruit On the off chance that you do battle in protect of your spouses, Your spouses will invite home the vanquishers; On the off chance that you do liberate your kids from the blade, Your childrens kids stops it in your age, At that point, for the sake of God and every one of these rights. (254-263) Now Richmond breaks the security and isolates this goal to urge each fighter to consider their spouses, kids, nation and God while out on the combat zone. He has become a pioneer their pioneer. On the off chance that they win this fight in do as such in ommitment and in respect they will be cherished by their families, their posterity will profit and as showed in line 256 , the troopers will find a sense of contentment knowing Richard is not, at this point live to take from them. In contrast to Richmond, who has all the earmarks of being progressively genuine and respectable in what his identity is and what his battling, King Richard, Duke of Gloucester, who seems, by all accounts, to be increasingly legitimate and direct. He es directly into his speech with no respects to his men. There is no glow however eagerness with kicking this fight off and done. He gives them a grimy and monstrous image of Richmond and his fighters. The initial lines quickly gives the peruser this What will I say more than I gathered/Remember whom you are to adapt withal. (p.143) Hearing this discourse so anyone can hear, the peruser accepts that King Richard talks quickly with no scurry or misuse of words. He rehashes again and again to his warriors the kind of individuals they will fight. In contrast to Richmond, who is essentially out to get King Richard, King Richard knots Richmond with warriors as one. He calls them drifters, miscreants, wanderers (Shakespeare line 316), hungry homeless people (Shakespeare 329). The Duke of Gloucester considers them to be pariahs, an aggregate of Bretons and base flunky laborers, (Shakespeare 317). Shakespeare gives King Richard horrendous symbolism by having utilizing terrible words like regurgitation , cool, poor not exclusively to depict the nemy however an impression of King Richard himself as uncompassionate, merciless, heartless, and bleak. The symbolism of Richards foes paints his adversaries as abominable and sickening like spoiled knaves in a sewer when contrasted with in this line For need of means, poor rodents, had hanged themselves (Shakespeare 331). As he babbles about Richmond and his officers, Richards strategy that he utilizes in his discourse is mockery which is dissipated all through his discourse. He does this to sincerely fuel his soldiers to win this fight. He demands this in hese lines: On the off chance that we be vanquished, let men overcome us, What's more, not these charlatan Bretons, whom our dads Have in their own property, beaten, bounced and pounded, What's more, in record left them the beneficiaries of disgrace (332-335) Lord Richard doesn't need his men to convey this disgrace so he pushes on letting them know whether they lose Richmond and his men will make the most of their territories and lay down with their lives. (p.143) However, he offers this in a conversation starter structure Shall these make the most of our territories?/Lie with our spouses? Violate our little girls? (Shakespeare 336). Once more, in his discourse, King Richard interfaces with his fighters. While one paints the different as rubbish and the different as a despot, Both Richmond and King Richard disdain each other in various manners for various reasons. The two discourses mirror the sort of men they are and the sort of troopers they have by the depiction they each paint of each other as showed before with a few models. Shakespeare intentionally made the two characters absolute opposite of one another that even the names are inverse. Richmond is delicate and solid and Richard is cold and inhumane. Shakespeare gives the peruser allegories and metaphors in the two mens addresses to uncover the characters emotions around each other. For instance he utilizes this gadget in Richmonds discourse in these line The supplications of heavenly holy people and wronged spirits/Like high-raised defenses, remain before our faces, (Shakespeare lines 241-242). Shakespeare utilizes embodiment in King Richards discourse, however he doesn't feature it. Whom their o ercloyed nation spews forward/to frantic undertakings and guaranteed destruction(Shakespeare 318-319). These expository gadgets improve and bolster the characters persona. Ruler Richards character spills his brutal sentiments towards Richmond, yet in the discourse, Shakespeare slides incongruity in the address. Lers whip these strays oer the oceans once more. (Shakespeare line 327) King Richard calls Richmond and his fighters strays however his manner of speaking in this line and all through the discourse is that of a maverick. Shakespeare flips it around by having King Richard talk in a reckless and quick pace way. Shakespeare needs the peruser to realize it is King Richard who is a stray. Shakespeare doesnt do this with Richmond. He gives a pioneer type figure, in which Richmond talks respectable, quiet and with assurance. The two unparallel addresses furnishes with anticipating of what is going to come and who may win. The peruser figures it will be Richmond and his men dependent on t Richmonds discourse and how her presents himself. Richmond has a reason to satisfy; King Richard needs a fight to evacuate Richmond off the beaten path. The King doesnt express that side of him. He just tends to the consequence of losing a fight. He guilefully gives his officers dread as covered up in these lines You dozing safe, they bring to you turmoil/You having lands, and favored with beauteous spouses/They would limit the one, distain the other( Shakespeare 320-322). He needs them to stress over what might occur in the event that they overcome their lives. He takes care of his fighters dread. Unexpectedly, He doesn't give support or honorability in spite of him being the King of Gloucester. Shakespeare shows the peruser this. Shakespeare expectations with these discourses are to draw the polar personas of the two men. Works Cited Bevington, David. Ed. Shakespeares Richard II. New York: Bantam Book and Scott, Foresman and Company, 1980. Bevington, David. Ed. Shakespeares Richard III. New York: Bantam Book and Scott, Foresman and Company, 1980.

Interview Discussing ADHD and Its Effect in Marriage

Interview Discussing ADHD and Its Effect in Marriage ADHD Adult ADD/ADHD Print ADHD and Its Effect in Marriage Interview with Melissa Orlov By Keath Low Keath Low, MA, is a therapist and clinical scientist with the Carolina Institute for Developmental Disabilities at the University of North Carolina. She specializes in treatment of ADD/ADHD. Learn about our editorial policy Keath Low Medically reviewed by Medically reviewed by Steven Gans, MD on August 05, 2016 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on September 29, 2019 ADHD Overview Symptoms Causes Diagnosis Treatment Living With In Children Orlov was kind enough to answer questions that impact many of our own Verywell.com readers lives when one or both partners in a relationship or marriage has ADHD. Melissa Orlov is the author of The ADHD Effect on Marriage: Understand and Rebuild Your Relationship in Six Steps. She also writes the Your Relationships column for ADDitude Magazine, runs the popular blog at ADHDmarriage.com, and is a contributing author to the book Married to Distraction with Ned Hallowell, MD, and Sue Hallowell, LICSW. Q: What are some of the ways symptoms of ADHD can disrupt a relationship? A: ADHD symptoms add consistent and predictable patterns to marriages in which one or both partners have ADHD. As long as the ADHD remains untreated or undertreated, these patterns can leave both partners unhappy, lonely, and feeling overwhelmed by their relationship. They may fight frequently or, alternately, disengage from each other to protect themselves from hurt. A common response for the non-ADHD partner is to become overly controlling and nagging (the only way to get anything done around here) while the ADHD partner becomes less and less engaged (who wants to be with someone who is constantly angry?) If your relationship is impacted by ADHD, you may see any of the following patterns: Chronic nagging and/or angerDistribution of household tasks is wildly unevenOne spouse plays the role of always being responsible (a parent role) while the other is consistently inconsistent or irresponsible (a child role)Your courtship was amazing and you couldnt get enough of each other, now one partner just isnt paying attention at allYou argue all the time, even over stupid thingsOne partner doesnt seem to remember agreements well or is tuned outOne partner has great trouble following through on things that have been agreed toSexual relationship has broken down The unfortunate result is that the divorce and marital dysfunction rates for couples affected by ADHD is almost double that of couples not impacted by ADHD. The good news is that understanding the role that ADHD plays in a relationship can turn your marriage around. Q: Whats it like to be an ADHD spouse in marital crisis? A: There is a spectrum of ADHD symptoms. Some people have no trouble with ADHD in one or more realms of their life, such as at work, but have difficulty in others, such as relationships. Those with the most severe symptoms find that ADHD interferes with just about everything. Among other things, a person with ADHD who is in a troubled marriage may feel: Secretly or overtly overwhelmed, since keeping daily life under control when you have ADHD takes much more work than others realizeSubordinate to a spouse who is running things, particularly if parent/child dynamics are in placeUnloved or unwanted, because he or she keeps hearing the message that he should change or do betterAfraid to fail again. As a relationship worsens, typical ADHD inconsistency contributes to anxiety about what may happen the next time one failsDifferent. People with ADHD understand that the world doesnt work for them in the same way that it does for others. Their minds are often racing, noisy or cluttered, and so they see experience the world in ways that others often dont relate to well. One young man described his ADHD brain as having the Library of Congress in your head with no card catalog. Q: What about the non-ADHD partner? What is helpful for the ADHD partner to understand about the experiences of his or her non-ADHD partner? A: As with the ADHD spouse, the non-ADHD experience runs along a spectrum from mildly problematic to unmanageable. At the milder end of the spectrum is a spouse who finds herself surprised and unhappy that her ADHD husband isnt paying much attention to her. At the unmanageable end is the partner who feels completely overburdened by the responsibilities she has assumed because she thinks her spouse cant do them. She dislikes herself and her husband and is chronically angry and frustrated by her plight. The non-ADHD partners experience is generally a progression from happy to confused to angry to hopeless. He or she might feel: Lonely because her spouse is too distracted to pay any attentionAngry and emotionally blocked - anger at the untreated ADHD partners inability to change their interactions or follow up on responsibilities can permeate many interactions. In an effort to control this, a non-ADHD partner may bottle it up inside.Stressed out - too many responsibilities, not enough help, and too much anger can make the relationship toxic for a non-ADHD partnerExhausted, hopeless and sad - it can be a real struggle living with a person who is not managing his ADHD. After a while, the repetitive nature of how unmanaged ADHD symptoms show up in the relationship leads to feeling as if nothing will ever change. Q: In your  book,  you talk about the destructive symptom-response-response cycle. Can you explain what this is, the ways it can be hurtful in a relationship, and how to break this negative pattern? A:  The tendency is to blame ADHD symptoms for all of the problems in the marriage but this is not the case. Both partners play important roles in their marital distress. ADHD symptoms create unexpected, often insidious, stresses on a marriage, as well as many misunderstandings. The destruction comes from the full pattern, thoughâ€"one that includes the symptoms, the response to the symptoms, and then the response to the response. A classic example is around the symptom of distraction, one of the most prevalent and important symptoms of ADHD. A distracted ADHD partner often is simply not paying  any  attention to his or her spouse. If the spouse doesnt know about ADHD then she will likely interpret the lack of attention as he doesnt care about me  any more. She becomes progressively more resentful at his lack of attention and starts to be short and angry with him. He hears the anger but doesnt know its origins, so is hurt and angered by her anger…and they head into a downward, reinforcing cycle. On the other hand, if the couple does know about the ADHD, an ignored spouse can say youve been distracted lately and Im feeling lonely. Can we go out on a date and spend some special time together? You can see how fully understanding the situation, and responding in a way that acknowledges the presence of the ADHD symptom, makes a big difference. But dont misunderstand me -- the symptom is at the beginning of the cycle, so the symptoms need to be managed, or worked around if a troubled couple is to improve their relationship for the long term. Q: You also explain to couples that it is not a matter of trying harder, but of trying differently. What does this mean? A:  You can take your knowledge about ADHD and choose tactics that will help you succeed. I call these ADHD sensitive tactics. For example, just trying harder to remember to do a chore sometime in the future probably wont work because the symptom distraction will get in the way and the chore may well be forgotten. On the other hand, setting an alarm on your cell phone that reminds you of the chore  at the time that it needs to get done  will probably work very well. The ADHD spouse may be distracted in the interim, but the alarm brings the chore back into his or her mind at just the right time. Q: For couples who are still struggling with the ADHD Effect in their relationship, but who are understanding more about the patterns that are occurring, what are some key points that they need to know in order to move forward, repair and rebuild their marriage? A: This is a two-person effort. You both must take responsibility for your own issues and changes in order to succeed. Conversely, you cannot be responsible for your partners changes, including whether or not to try medication for ADHD.Learn everything you can about how different you are and what your partners experience is. It will give you greater empathy, patience  and  even motivation.Optimize the ADHD treatment. Medications alone dont do it. I write about the three legs of treatment for an ADHD partner in a relationship in my book, and while its too much to cover here I suggest couples think in terms of a multi-pronged approach to treatment.Think about improving your relationship rather than saving your marriage. This will keep you focused on whats really important -- how the two of you relate to each other -- rather than on the logistics of your relationship. Logistics (who is doing what) is where most troubled marriages are focused.Ultimately, marriage is about joy. As you work t hrough the six steps for rebuilding your relationship that I outline in my book, remember to find something to celebrate or laugh about as often as possible. Set aside time to create joy, not just time to fix things. You both need relief from the effort it takes to change habits that have been built up for years. The 9 Best Online Therapy Programs

The Possible Causes and Treatments of Obsessive Compulsive Disorder - Free Essay Example

Introduction Obsessive compulsive disorder (OCD) is a type of mental illness. People who suffer from OCD can either have obsessive thoughts or repetitive behaviors that they feel they must complete each and everyday. This disorder is not about small habits such as grinding your teeth or licking your lips. It can affect their ability to work, go to school, or to have a normal life. An example of an obsessive behavior is the thought that your family will get hurt if you do not put your clothes on in the same exact order everyday. They feel as though they have no power to stop and must keep going. Many scholars describe this disorder as the invisible disease. In this literature review, the topics that will be explored are the possible causes and treatments options. The causes that will be discussed is the genetic and environmental factors and the importance of failures in cognitive and behavioral inhibition. Both of these may contribute to someone developing OCD. The treatments that will be discussed are experiential avoidance cognitive fusion, and systematic changes in cerebral glucose metabolic rate after successful behavioral modification treatment. Genetic and Environmental Factors Genetic and environmental factors are relevant to the aetiology of OCD. Observing symptoms of obsessive behaviors is most likely to occur in the home with first-degree relatives. Psychoeducation and the reduction of family members complying to their habits are promising areas for the prevention of OCD in an individual who is at risk of developing obsessive habits. More research is said to be needed for the prevention of OCD. Psychoeducation is a key primary source of prevention for obsessive compulsive disorder. Evaluation is needed for treatments of OCD (Brakoulias et al 2018). Association splitting versus cognitive remediation in obsessive-compulsive disorder: According to Lena Jelinek (2018), studies have confirmed the efficiency of association splitting (AS) in obsessive compulsive disorder when applied as a self-help technique. AS aims to alter symptom-provoking automated cognitive networks of obsessive compulsive related stimuli by building new neutral associations. The aim of this study was to investigate the benefits of therapist assisted AS as an add on to cognitive behavioral therapy (CBT). Patients with OCD were randomly assigned to either AS or cognitive remediation (CR) and then both groups were assessed at baseline, 4 weeks, and 6 months later. Patients acceptance of AS was good but not as good as the acceptance with CR. Analyses excluding control patients who had obtained information about AS indicated its superiority. Because superiority of AS was found in post hoc analyses excluding control patients who had obtained information on AS, we suggest that contagion effects deserve consideration (Jelinek et al 2018). Experiential Avoidance and Cognitive Fusion According to Reuman (2018), cognitive models of OCD are supported but do not fully explain OCD symptoms. Mid level constructs from acceptance and commitment therapy (ACT) may advance understandings of symptoms by adding more explanation to existing models. A current study examined the extent of how mid level ACT constructs account for variability in symptoms. Regression analysis revealed that experiential avoidance and cognitive fusion showed associations with OCD symptoms. These did not add to the prediction of symptoms once general distress and obsessive beliefs were accounted for. An exception is cognitive fusion because it was a predictor of obsessive thoughts and the need to control those thoughts. These findings provide support for the model of OCD as well as the thought that mid level ACT best relates to the obsessive thoughts of OCD. (Reuman et al 2018). Systematic Changes in Cerebral Glucose Metabolic Rate After Successful Behavior Modification Treatment These researchers sought to determine in a new patient sample where symptomatic improvement in obsessive compulsive disorder treatment with behavioral modification is paired with significant changes in glucose metabolic rates in the caudate nucleus. This is measured with positron emission tomography. They also examined whether there were pathologic correlation relationships with brain activity in the orbital cortex, caudate nucleus, and thalamus that obtained before behavioral treatment of OCD but decreased significantly with symptom improvement. Behavioral therapy responders had significant decreases in caudate glucose metabolic rates that were greater that seen in poor responders to treatment. This shows that the before the treatment there was more caudate glucose rates than after the treatment. A prefrontal cortico-striato-thalamic brain system is implicated in mediation of symptoms of obsessive compulsive disorder. (Schwartz et al 1996). Conclusion Obsessive compulsive disorder is referred to as an invisible disease. It affects an individual by complicating their whole life in negative ways. It affects their everyday life to the point where they can not function as a normal person. There are some causes that may be able to be identified early in life such as environmental factors which would be seeing a family member with obsessive thoughts or beliefs. Another predictable cause are genetic factors which would be a direct family member suffering with OCD. After being diagnosed with OCD there are some treatment options. One being experiential avoidance and cognitive fusion. Cognitive fusion was shown to be a predictor of OCD symptoms and the need to control these obsessive thoughts. The second treatment was systematic changes in cerebral glucose metabolic rate after successful behavior modification treatment. This treatment showed the caudate glucose rates significantly decrease after successful behavior treatment of OCD symptoms .

American Charity Organizations America s Stand Point On...

America’s Megalomaniac Urge to Put Others First Lesley Boone once said, â€Å"We are a country that prides itself on power and wealth, yet there are millions of children who go hungry every day.† When people think of world issues, many do not consider America’s stand point on the ordeal. They are unable to fully comprehend the growing lack of jobs, poverty, hunger, poor health care, and meager education that takes place across the nation. American charity foundations are often eager to jump to the rescue of other countries, but what about the detrimental issues that occur and worsen here every day? In the past, the majority of organizations are predominantly directed at foreign countries; helping places such as Ethiopia, India, Somalia, etc. While here, poverty and debt are increasing by surmountable amounts. Charities for other regions are beneficial, but shouldn’t people here be first priority? The majority of problems have the potential to be easily fi xed. What happens when we have nothing left to give? If the United States does not soon take this into consideration, it could be hazardous and irreversible to the American society. When considering where America’s charitable hands should go, many things need to be taken into consideration such as; charities outside of the U.S., should America put more effort into problems here, the increasing debt and poverty levels, and how benefits of focusing more here. The first point of this essay will discuss problems within theShow MoreRelatedThe Unspoken Captivity : Retrospectives On Human Trafficking3262 Words   |  14 Pagesof money, employment, or better opportunities not normally afforded to the victim. Ultimately, the victims later find themselves trapped and manipulated and held against his or her will for the price of profit or involuntary servitude. Several organizations and governments across the globe, have implemented approaches to eradicate human trafficking. 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Life Of Human Resources A Personal Account - 1344 Words

Life in Human Resources: A Personal Account Career preparation and overall position success revolves around knowledge and educational development. Gaining the skills to proficiently perform the duties of any position is of the greatest advantage for staff members and organizational leaders. At the same time, even gaining such knowledge and education is not enough to cultivate sustainable skills and competencies in a manner in which to create a strong career path and achieve personal goals (Cosby, 2014). As such, the following is an overall assessment of personal decision making and problem solving accouterments, developed professional etiquette, communication skills, time management strategies, and professional goal setting. Decision†¦show more content†¦Sometimes leaders have to make decisions that provide the most supportive solutions for the organization as a whole. 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A queer theory reading of Oscar Wildes A Picture of Dorian Gray

Sample details Pages: 24 Words: 7273 Downloads: 8 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Aestheticism dictates that life should be lived by an ideal of beauty and a movement embodied by the phrase of art for arts sake. There is perhaps no greater advocate of such beliefs as Oscar Wilde, and the characteristics of aestheticism run through much of his work, both plays and stories, particularly in the character of the dandy. It would be difficult to analyse any of Wildes work without considering his own personal life and consequently, almost impossible to analyse his use of aesthetics without tackling the elements of homoeroticism. Living in a society largely intolerant to homosexuality, Wilde was obviously restricted to some extent with regard to what he could writeabout explicitly and as a result secrecy becomes an important influence over Wildes work. This makes for an extremely interesting relationship between aestheticism and homoeroticism, and it is this relationship that will form the main focus of this essay. What are the forms and techniques that Wilde uses to aestheticise homosexuality, and why? And how by doing this his literary works reveal aspects of his own life and sexuality, ultimately creating the figure of Wilde the aesthete, dandy, and campy witticist who has become a public icon forhomosexual men in Britain and America. It will focus primarily on The Picture of Dorian Gray, The Importance of Being Earnest and The Happy Prince and Other Stories. Don’t waste time! Our writers will create an original "A queer theory reading of Oscar Wildes: A Picture of Dorian Gray | English Literature Dissertation" essay for you Create order The Portrait of Mr. W.H portrays Shakespeare as being a slave to beauty that is the condition of the artist! This concept of theartist as worshipper of beauty is a recurring characteristic of Wildes literature and will be dealt with later in this chapter. Firstly, itis necessary to look at the ideal of beauty that Wilde presents as worthy of worship. There is an overwhelming resemblance between Wildes portrayal ofbeauty and the concept of beauty in the Greek era. As Summers observesin his book Gay Fictions: Studies in a Male Homosexual Literary Tradition, both The Portrait of Dorian Gray and The Portrait of Mr.W.H focus heavily on portraits of androgynous young men bothstories allude to famous homosexual artists and lovers in history andthey both assume a significant connection between homosexual Eros andart. Same-sex desire is referenced heavily throughout Greek literature, for example, during the sixth century, the poet Sappho wrote numerous homoerotic verses concerning young women, with the term lesbian derived from the name of her island home of Lesbos. Platoalso referred to same-sex desires and relations, even forming his own theory on the pre-determined nature of different sexualities. In words taken from The Portrait of Mr. W.H, the ideal of beauty is a beauty that seemed to combine the charm of both sexes, and to have we dded, as the Sonnets tell us, the grace of Adonis and the loveliness ofHelen. Wilde uses this Greek ideal of beauty as a means of adding authority to his allusions to homoeroticism, to make the content of the two aforementioned works more acceptable to a Victorian audience. Itis important to note that there is a marked difference of public attitude towards homosexuality and homoeroticism between Greek and Victorian society. Donald Hall observes that during the Greek eraadult male sexuality, had much more to do with power status and social positioning than it did with any expression of identity-determining desire for the same or other sex. Wildes ideal of beauty also overlaps with the Greek concept of the muse. The Portrait of Dorian Gray presents us with Dorian, the muse topainter Basil Hallward, and The Portrait of Mr. W.H provides us withan insight into the life of one of the most famous muses of all, the young man who Shakespeare addressed many of his sonnets to Who was he whose physical beauty was such that it became the very corner-stone of Shakespeares art; the very source of Shakespeares inspiration; the very incarnation of Shakespeares dreams. The muse, defined as asource of inspiration especially for a creative artist succeeds in objectifying the subject, transforming a human presence into aesthetic fodder to fuel the creative mind, as well as something far superior tothe person beholding the muse. With regard to The Picture of Dorian Gray, Summers suggests that, the implied link between homosexual Erosand creativity is clear in Dorians effect on Basils art. Dorians beauty and the ideal that he represents ca use Basil to see the world afresh and inspire him to his greatest work as an artist. This is where the idea of worshipping beauty comes into play. TheHappy Prince, for example, is distinctly removed from everyday lifeand is admired from afar in a quite literal sense. However, Dorian isperhaps the best illustration of Wildes fascination with the worshipof beauty. The novel suggests that to other young men Dorian seemedto be of the company of those whom Dante describes as having sought tomake themselves perfect by the worship of beauty. Like Gautier, hewas one for whom the visible world existed. At the same time,Dorian is presented to us as the worshipped, with regard to hisrelationship with Basil Hallward. The experience of the muse in the manner of Basil and Shakespeare (asportrayed by Wilde) seems to present something of a double-edged sword,producing feelings of such passion that joy and despair becomeintertwined. The narrator of The Portrait of Mr. W.H suggests thatShakespeares muse was a particular young man whose personality forsome reason seems to have filled the soul of Shakespeare with terriblejoy and no less terrible despair. In a similar vein, Basil hasominous feelings on meeting Dorian for the first time, I knew that Ihad come face to face with someone whose mere personality was sofascinating that, if I allowed it to do so, it would absorb my wholenature, my whole soul, my very art itself. The effect of beauty canbe seen as both gift and curse in the same way that Wilde perhapsregarded homosexuality in Victorian society. The importance that Wilde places on the worship of beauty is closelyrelated to his strong beliefs in aestheticism. The distance that Wildeseeks to construct between the observer and the object of beauty can beread as a mechanism of aestheticism whereby he aims to eliminate anyattachment to moral and wider societal concerns. The following chapterwill analyse the relation of aesthetics to Wildes literary works, andhow far he is able to separate the appreciation of art from moralvalues. Mary Blanchard, in Oscar Wildes America suggests that the personaof the invert or male homosexual was an emerging concept during the1880s, and the connections between aesthetic style and a homosexualsubculture cannot be overlooked. And with other critics referring toWilde as the high priest of aestheticism, its clear that Oscar is noexception to this rule. He lived a hedonistic lifestyle, flitting as asocial butterfly from one experience of art and beauty to the next. InVictorian times the male dandy soon became a symbol of this aestheticage, with no finer literary examples than Dorian and Lord Henry of ThePortrait of Dorian Gray, and Algernon and Jack of The Importance ofBeing Earnest. Lord Henry declares that pleasure is the only thingworth having a theory about and it is this preoccupation withmaterial things and surface-level emotions that characterises thedandy, a choice of style over substance. As a result Dorian becomesfascinated with acquiring commodities such as perfumes, je wels andmusic. Wilde dedicates pages of description to this search forsensations that would be at once new and possess that element ofstrangeness that is so essential to romance. The concept of dandyism is closely linked to that of Victoriandecadence. Goldfarb, in his essay on Late Victorian Decadenceprovides us with a useful definition of decadence, highlighting itsresemblance to aestheticism the value to be gained from experienceof all sorts and from indulgence in a life of sensation. Because ofthis emphasis, decadent literature is animated by the exploration ofimmoral and evil experiences; never does it preach morality, nor doesit strongly insist upon ethical responsibilities. This separationbetween decadence and morality is also a characteristic common toaestheticism. Glick studies the concepts of dandyism at length in her essay onThe Dialectics of Dandyism, identifying an opposition betweencritical thought on dandyism and arguing that two different modelslocate dandyism at the opposite poles of modernity, simultaneouslypositioning the queer subject as a privileged emblem of the modern andas a dissident in revolt against society. Therefore, on the one handthe reader can accept the dandy as person who embraces the aestheticsof culture and celebrates beauty as a preoccupation with surfacetrends to conceive of gay identity solely or primarily in terms ofartifice, aesthetics, commodity fetishism and style. Or, beneath thesurface, we can read a protest against the commodification of modernlife and a rejection of common values and aspirations. Goldfarb note asimilar contempt for modern society in the movement of decadence, aself-conscious contempt for social conventions such as truth andmarriage, by an acceptance of Beauty as a basis for life. Bothaest heticism and decadence seek to remove beauty from the confines ofmodern society and use it to their own ends in a self-created sensualand fantastical lifestyle. Wildes use of aestheticism can be read as an attempt to showhomosexuality as a sign of refined culture, as a means to his desiredend where such a topic becomes more acceptable. In the same way thatWilde alludes to the Greek ideal of beauty to disguise what couldotherwise be seen as a direct and possibly offensive portrayal ofhomosexual desire, by adhering to the rules of aestheticism Wilde isable to divert attention from any moral attack on his writing. Themovement of aestheticism shuns any notion that art can be connectedwith morality and passionately encourages individual freedom and socialtheatricality. Ironically, whilst it can largely be seen as arebellion against Victorian sensibilities, it is simultaneously amethod of retaining a covert nature to the expression of homoeroticdesire. In the case of Basil Hallward, he finds art an outlet for suchdesires, there is nothing that Art cannot express. Through Dorian,Basil is able to discover a new manner in art, an entirely new mode of style not just when he is painting Dorian, but when he is merelypresent. It allows him a new way of looking at life, having realisedthe power of homoeroticism In presenting homosexuality through the lens of aestheticism andconsequently presenting it as a refined culture with close links to theidealised and romantic image of the Greek age, Wilde also separates thelifestyle of the homosexual man from the classes of heterosexualsociety. As Elisa Glick suggests in her essay on the dialectics ofdandyism, Wilde depicts Dorians seemingly endless appetite forexotic, luxury objects as the exterior manifestation of his innerintellectual and artistic superiority. This presents Doriansdesires and those of other aetheticism advocates as elitist andultimately superior to other classes. Through the use of aestheticism,it can be argued that Wilde attempts to give homoeroticism the power totranscend class. By describing such episodes in this romantic andfantastical manner, he places homosexuality in a highly refined classof its own, in a position out of reach from the realities of theworking class and bourgeoisie. To take this concept one step further, Wilde can also be seen toreject the realities of common society entirely, as an aesthetepreferring to lose himself in sensual experiences and ultimatelydreaming of an escape from reality to a place where such experience canbe fully realised. Glick goes on to note that Dorians acquisition ofluxuries and curios not only seems to affirm his aristocraticdistinction, but also aims to build a self-created world byaestheticizing experience itself. Gray yearns not so much for theenjoyment provided by an individual object, but for the aestheticpleasure provided by its reincarnation of part of his collection.Indeed, Dorian does become obsessed with creating his own desiredversion of reality, in which worshipping beauty and living by thesenses is the priority. Having embarked on this aesthetic journey-largely instigated by Lord Henry Dorians passion to adhere to theseideals becomes clear, It was the creation of such worlds as these thatseemed to Dorian Gra y to be the true object, or amongst the trueobjects of life. Early in the novel Wilde even goes so far as toassociate reality directly with the lower classes and as therefore,something ranked below the aspirations and lifestyle of those likeDorian; in this extract no sooner is Dorian overcome by fascinationwith Lord Henry than he is brought down to earth by the entrance of aservant: Dorian Gray never took his gaze off him, but sat like one under aspell, smiles chasing each other over his lips, and wonder growinggrave in his darkening eyes. At last, liveried in the costume of the age, Reality entered the roomin the shape of a servant to tell the Duchess that her carriage waswaiting. By personifying Reality Wilde presents it as something that can bedefeated, beaten by those who have enough desire and strength of mindto do so. In the same way Wilde often capitalises and personifiesArt to add character to the subject and emphasise his position onthat subject. Although in one respect this separation of the dandy or aesthetefrom reality may seem to alienate him from others in society, thecontent of Wildes narration does not necessarily isolate him from amoral standpoint. It is interesting to note that we are given verylittle information on the uglier types of experience that Dorianseeks. As readers, we understand the influences and transition thatthe protagonist is going through as his soul darkens, but we are noteducated in the exact nature of the experiences. This allows lessopportunity for concentrating on the moral aspects of his lifestylechoices, and more opportunity for pondering on the nature ofaestheticism; we focus more on the influences on Dorian and theconsequences, rather than on judging his actions and decisions. Whenone delves deeper to find a moral standpoint on Wildes part, it isdifficult to do so, and consequently, easier to assume that the absenceof analysis in this area suggests ambiguity on his part. Summer seeks to find an answer to this moral ambiguity in the worldof Oscar Wilde himself, and in relation to The Portrait of Dorian Grayfound that Wilde summarised the moral as all excess, as well as allrenunciation, brings its own punishment. The painter, Basil Hallward,worshipping physical beauty far too much, as most painters do, dies bythe hand of one in whose soul he has created a monstrous and absurdvanity. Dorian Gray, having led a life of mere sensation and pleasure,tries to kill conscience, and at that moment kills himself. Thiscomment of Wildes confirms the notion that becoming a slave to beautyis a condition of art, illustrated by the tone of the inevitable thataccompanies the phrase as most painters do, an observation that wecan easily transfer to the experience of other artists as well. Wildegoes on to explain that Lord Henry Wotton seeks to be merely thespectator of life. He finds that those who reject the battle are moredeeply wounded than those who take part in it. I n this respect bothBasil and Henry are ultimately doomed, thus suggesting no clear moralpath that the reader need follow for salvation. Moral ambivalenceoccurs frequently as a result of the narrators attitude; the narratoris sympathetic towards whichever character he is describing, and inparticular, often seems just as seduced by the strong and influentialcharacter of Lord Henry as Dorian is. With this in mind, Summersconcludes that notwithstanding the retributive ending of the book, theFaustian dream of an escape from human limitation and moral stricturesultimately triumphs over the condemnation of excess and therebysubverts the apparent moralism. To summarise, he argues that theFaustian dream is rendered more appealingly than the superimposedlesson of dangers of narcissism. However, if we accept Summersreading, it still remains impossible to read the novel withoutquestioning the relationship between aestheticism and morality.Whether we believe Wilde to subvert or strengthen common moral values,their presence within the narration is undeniable and invites furtherthought from the reader. To conclude this chapter on aestheticism, we can see that Wildesliterature aestheticism and homosexuality exist co dependently. Thisobviously has an effect on the publics reading of his works, and howreadily and comfortably they associate these two aspects. As Summerssuggests it is interesting to note that The Picture of Dorian Gray wasamong the first novels in the language to feature (though blurred andinexactly) a homosexual subculture Summers wrote that homosexualreaders would certainly have responded to the books undercurrent ofgay feeling, and may have found the very name Dorian suggestive ofGreek homosexuality, since it was Dorian tribesmen who allegedlyintroduced homosexuality into Greece as part of their militaryregimen. In contrast, Mary Blanchard notes a negative consequenceconcerning heterosexual readers during the Victorian era Allyingaesthetic style with the masculine self provoked attacks from someVictorian men unsure of their own gender orientation. This raisesthe iss ue of how a heterosexual readership can be seen to react to theundertone of homosexuality, and how a readers interpretation canchange when fuelled by more knowledge of Oscar Wildes personal life.Before looking at the effect of the writer on what is ultimately afictional narrator, this essay will look at the importance of secrecyin the life of the homosexual man. Todays society is obviously more accepting of Wildes sexuality andits effect on his art, Summers illustrates this point by suggestingthat Wildes demise meant that he ultimately functioned as Saint Oscar,the homosexual martyr. But of course it was not until some timeafter the late nineteenth century that Wilde was fully appreciated by awider audience. Miller and Adams in Sexualities in Victorian Britainobserve that the Victorians were notorious as the great enemies ofsexuality: indeed in Freuds representative account, sexualitysometimes seems to be whatever it was that the middle-class Victorianmind attempted to hide, evade, repress, deny. In this respect thehomosexual man had a double secrecy to adhere to that of sexuality,as well as homosexuality. In Victorian society there was very much aclear-cut idea of what was natural and unnatural, of what was normaland abnormal. Consequently, Wilde set himself up as a figure to beattacked by the press as unnatural and abnormal the Victorian presspublicized in wildly inflammatory ways Wildes eccentric dress,effeminate, and haughty demeanour, all held up as important signifiersof his unnatural sexuality and the threat he posed to normal,middle-class values. Being such an extravagant and extrovertedcharacter, Wildes sexuality was not particularly covert and eventuallyprovided Victorian society with a case by which to lay down the law asto what was acceptable in terms of sexuality. As Ed Cohen suggests inhis essay, Writing Gone Wild: Homoerotic Desire in the Closet ofRepresentation, the court proceedings against Wilde provided aperfect opportunity to define publicly the authorized and legal limitswithin which a man could naturally enjoy the pleasures of his bodywith another man. Despite the fact that it was Wildes indiscrete homosexual behaviourand demeanour that led to his downfall, aspects of secrecy featureheavily in his literary works and certain narrative techniques aid tothe covert nature in which homoeroticism is often presented. To recap,by relating same-sex friendships to aestheticism and ideals of beauty,Wilde is able to divert attention from aspects of homosexuality thatwould be otherwise be interpreted as immoral by Victorian society.Also, Wilde omits any direct reference or description of same-sexphysical relations and hardly even alludes to such activities. Thecontent of the narration and emphasis on aestheticism means that ahomoerotic reading of Dorian Gray is not immediately obvious at leastnot to a heterosexual readership. Therefore, homosexual love becomesthe love that cannot be spoken of and is fundamentally secretive. The secret language of homosexuality is particularly evident in TheImportance of Being Earnest, a play riddled with code words alluding tohomosexual behaviour. Karl Beckson argues that the title of the playis not only a pun on the name of Earnest, but is also a representationof same-sex love since the term Urning (a variant of the more commonlyused Uranian) referred to same-sex desire in fin-de-siecle London.Beckson also argues that Wildes use of the term bunburying as ameans for Algernon to escape responsibility also has Uranianimplications. With the action of bunburying being such a focal pointof The Importance of Being Earnest, this reading of the play suggest aserious preoccupation with the secret world of the homosexual. It isalso interesting to note that an unnamed critic in Time suggests thatBunburying was shorthand for a visit to a fashionable London malewhorehouse (2 February 1979, 73), an opinion reaffirmed by JoelFineman in 1980. Understandably, after the success of play t hephrase bunburying became a commonly used term as same-sex slang.John Franceschina notes other code words used in the play as musical,effeminate, and aunty, all of them Victorian expressions for same-sexactivity. Yet, again Wilde diverts attention from a moral reading bywriting in a style that is based on farce and euphemism, a style thatrejects an immediate analytical reading. In her essay Dialectics of Dandyism, Elisa Glick observes theissue of secrecy within both modern and Victorian society and suggeststhat modern gay identity is pervaded by the trope of the secret.She pays particular interest to the dichotomy of appearance and whatlies beneath, in her words the opposition between outward appearanceand inner essence. This split between appearance and essence of apersons character and desires is central to Wildes portrayal ofhomosexuality, as illustrated by the character of Dorian Gray. Dorianis a contradiction of appearance and essence, with the portrait beingan omnipresent reminder of this. And to return to The Importance ofBeing Earnest, the very act of bunburying on Algernon Moncrieffs partsuggests a web of deceit where appearances are never compatible withreality. One might think that such a heavy reliance on secrecy might lead tosome resentment by those forced to hide their sexuality from anintolerant society, but in the case of Wildes dandies, this does notseem to be the case. In fact, such characters appear to activelyembrace a world of secrecy. If we equate Dorians portrait withhomosexuality, then we can read his response to the secrecy that isforced upon him as something of a guilty pleasure pride ofindividualism that is half fascination of sin, and smiling with secretpleasure at the misshapen shadow that had to bear the burden thatshould have been his own. This seems to suggest that throughsecrecy, a homosexual man can avoid all the negative consequences thatwould be thrust upon him by an offended Victorian society. Glickobserves that it the portrait is not just related to the secret worldof Dorian, but that it also functions on a wider scale, Wilde makes itclear that the portrait does not exhibit a single secret; rather it isthe site f or a circulation of secrecy in which all these characters Basil, Dorian, and Lord Henry are implicated. The portraittherefore, becomes a symbol of the secrecy of the homosexual man, whichis simultaneously associated with issues of aestheticism. Glick goeson to suggest that Basil expresses the sense of homosexuality as bothknown and unknowable the double bind of gay identity when hedeclares, I have come to love secrecy. It seems to be the one thingthat can make modern life mysterious or marvellous to us. Thecommonest thing is delightful if only one hides it. But just how realistically can homosexuality exist by these secretcodes of conduct? Just as Wilde suffers at the hands of an intolerantsociety, so does Dorian Gray struggle to live a life of doubleidentity. By the end of the novel it becomes clear that he issuspended between two worlds, with no lasting way of marrying the two.To return to the essay of Elisa Glick, Dorian must die when he stabsthe portrait because he can only exist in the relation between thepublic and the private, a relation that Wilde literalizes in theportrait and its subject. Right from the outset of The Picture ofDorian Gray we are presented with the concept of that part of anartists inspiration that remains secret and personal to them.Therefore, the portrait of Dorian Gray does not merely conceal thesecrets of Dorian, but also the secrets of the painter of the subject -the portrait is a mysterious form because its outward appearanceconceals its inner essence. it reveals the essence of both painterand painted. T he secret desire hidden within the painting is broughtto our attention by Henrys shallow comment that the painting looksnothing like Basil; the fact that his retort misses the point entirelymerely succeeds in enhancing our understanding that there is much moreof Basils desires and passion in the painting than is immediatelyobvious from its surface attributes. Interestingly, this revelationcontradicts the concept of appreciating art purely for its appearanceand with no relation to moral values. In many cases living by thesenses reveals much about the person, and experiences cannot be soeasily detached from emotion and personal feeling. For example, whenDorian falls in love with Sibyl Vane, Henry observes that out of itssecret hiding place had crept his Soul, and Desire had come to meet iton the way. Within the stereotypical lifestyles of the aesthetes,inner feeling will inevitably show its face and with it, bring at leasta fleeting ponder on moral values. Having analysed The Importance of Being Earnest and The Picture ofDorian Gray with regard to elements of secrecy, both positive andnegative consequences of such an influence on homosexual lifestyle areapparent. But it is the story of The Happy Prince that puts Wildesfinal and definitive seal of opinion on the issue of secrecy. Once theswallow has sacrificed his life for the statue of the Prince, the twoTown Councillors far from understand the relationship between theswallow and prince, becoming preoccupied with the trivial matter of whoshould be the subject of the next statue. However, there is ultimatelya happy ending with the swallow and Prince receiving recognition andacceptance from God, for in my garden of Paradise this little birdshall sing for evermore, and in my city of gold the Happy Prince shallpraise me. The relationship between Prince and Swallow does havehomoerotic undertones, with the Swallow often read as the dandycharacter, in this case fascinated by the beauty of the statue. Thehomoerotic aspect of the tale culminates in a kiss between the two,but you must kiss me on the lips, for I love you. If we are toaccept a homoerotic reading of The Happy Prince then accordingly wecan read the ending as Wilde voicing his opinion of homosexuality asnatural and literally giving such a lifestyle the blessing of God. InThe Portrait of Dorian Gray, Wilde uses a similar technique whereby hepresents the character who can most easily be classified as homosexual,as the very character who is the most morally sensitive. However, a homoerotic reading of The Happy Prince, indeed of anyof Wildes literary works, relies on and is substantially influenced byour knowledge of Oscar Wildes personal life. This brings us to thefinal chapter of this dissertation, a chapter that will analyse therelationship between the writer and the narrator, and the effect ofthis relationship on aesthetic and homoerotic readings of Wildesfiction. Chapter 5 -Wilde the storyteller So far we have looked mainly at The Importance of Being Earnest andThe Picture of Dorian Gray and we have touched upon the fact that it isoften difficult to read such works without considering the personallife of Oscar Wilde. A Victorian audience would have held someknowledge of Wilde, considering that he was an extremely sociablecharacter with social critiques often published in Reviews of thetime. And of course, his two years imprisonment would have beenwidely publicised and consequently common knowledge. There is no doubtthat it was around this time that heterosexual readers would havestruggled to accept the links that Wilde makes between aestheticism andhomosexuality, fearing a similar fate merely for sharing thecharacteristics of aestheticism. Reading in the twenty-first centurywe now have the privilege of even further information on Wildesprivate life. The nineteenth century novel largely focused on the third person,omnipresent narrator, and in doing so inevitably drew attention to thepersona of the narrator and subsequently to the author himself. Wildeis no exception to this rule and it is difficult not to see his owncharacter or what we believe to be his own character shinethrough. As suggested in the previous chapter, it is not just thecondition of the artist to worship beauty, but also to allow his owncharacter and desires to become a part of his art. In the case of ThePortrait of Dorian Gray, our knowledge of Wilde as a dandy and aesthetecolours our interpretation of characters such as Lord Henry andDorian. Knowing what we do about Wildes extravagant social life andturbulent relationship with the press, lines such as You dont wantpeople to talk of you as something vile and degraded spoken to Dorianby Basil, begin to take on more significant meaning. With this quotein mind, it is possible to read between the lines and observ e a feelingin Wilde that he wishes somehow, outside of his literature not to belooked upon as vile and degraded. This desire for acceptance isoffset by the more typical tongue in cheek wit of Wilde, the use ofwhich diverts attention from serious emotions. This type of humour canbe seen in Dorians retort to Basil on hearing gossip, I love scandalsabout other people, but scandals about myself dont interest me. Theyhave not got the charm of novelty. It seems that Wilde isdeliberately poking fun at himself and joining in with the popularridicule that was present in Victorian society about the life of theaesthetic gentleman. Many cartoons and caricatures were in circulationat the time that sought to make fun of the extravagances of theaesthetic lifestyle. Numerous satirical works were also released,worth particular mention is Robert Hitchens Green Carnation, asatirical novel on decadence influenced by the authors beliefs inaestheticism as unconventional and exhibitionist. The Importance ofBeing Earnest also has a farcical tone throughout, which often servesto allow the reader to question Wildes authority, whilst also allyingthe comments of certain characters with Oscar himself. For example, aline of Gwendolen appears to point directly at Wildes personal life,And certainly once a man begins to neglect his domestic duties hebecomes painfully effeminate, does he not? And I dont like that. Itmakes men so very attractive. However, many critics would argue that the very definition of fictiondictates that the reader should accept that there need not necessarilybe a connection between narrator and author. In the same way that anactor does not need to have experienced a similar history and lifestyleto the character they play, so too should we allow the writer to assumedifferent characters. This very point crops up in the story of ThePortrait of Mr W.H whereby the narrator argues that To say that only awoman can portray the passions of a woman, and that therefore no boycan play Rosalind, is to rob the art of acting of all claim toobjectivity. Indeed, this type of reading does take some of thepressure away from Wilde and means that he can be judged as an authorless readily. Having said this, in reality this is an extremely thinveil of protection. And in the writing of The Portrait of Mr. W.Heven seems to invite a reading based on his own life. For example, heuses a first person narrator and a style that can easily be mistakenfor a factual piece of writing concerning validated research. Wildeclearly walks a fine line between fact and fiction, keeping the focuson fiction just enough to allow him to present his work as fiction, andrely on the cover of other narrative techniques such as the beliefs ofaestheticism. Wilde toys with his audience and seems to delight inkeeping them guessing as to where the line between fact and fiction isdrawn. This can be linked back to the issue of secrecy withinhomosexual culture and the pleasure that can be gained from suchsecrecy. The Importance of Being Earnest, The Picture of Dorian Gray and ThePortrait of Mr W.H all feature aspects of the male dandy and overlapwith what we know to be Wildes lifestyle. But when it comes to othertales in The Happy Prince and other stories, they are much furtherremoved from Wildes reality and experience, located in fairy talesettings and seem to offer the content of a fable. Written in such adifferent style to the works already discussed, where can theseremaining tales be positioned in relation to Wildes stance onaestheticism and lifestyle as a homosexual man, and does the fact thatWilde has adopted a fairy tale style mean that there is more separationbetween narrator and author? The Happy Prince and other stories do have elements of Wildes wideropinions and ideas on aestheticism, and in some instances, undertonesof homoeroticism. However, before considering the stories in relationto these issues, it is important to draw attention to Wildes intendedreadership/audience. Having married Constance Lloyd, Wilde was thefather of two and there is no doubt that consequently assuming thisrole influenced the content and style of these particular works.Although his two sons were still very young when he wrote The HappyPrince and other stories, he would ultimately have had them in mind ashis desired audience. As Owen Dudley Edwards comments: This is not tosay that the stories were first told to his two sons, though simpleversions of them may have beenBut they were written with the intentionof telling them to his sons. They are stories from an unselfconsciousfather who knows how to move the storyteller in and out of thenarrative with mild self-mockery, as opposed to some assertive malechauvinist brute thundering his own dignity and morality for theedification of his wretched offspring. The Happy Prince, The Selfish Giant and other tales in thecollection all have characteristics of the fairy tale, as well as thebible story and epic tradition. Wildes target audience wouldobviously have influenced his apparent adherence to Victorian moralvalues and religious beliefs. With a folklorist for a mother and aneducation in the classics, Wildes storytelling influences can clearlybe traced back to his upbringing. Owen Dudley Edwards suggests thatWildes stories in almost all cases travel back to a Celtic folk-worlddominated by ghosts and God. The presence of God in The Selfish Giantfor example, focuses on a religious message of humanity and the afterlife, and as a result it allows for a clear-cut moral, something thatWildes other works shy away from. There is less ambiguity concerningthe conclusions we come to at the end of these tales. It can perhaps be argued that these stories are an outlet forWildes desire to be accepted by Victorian society. Influenced by hischildren an aspect of his heterosexual life they appear to be thetype of sugary tale that would be embraced by a society obsessed by thedistinction between right and wrong, normal and abnormal. Although,there are still moments of typical tongue in cheek Wilde humour, themorals of the stories fundamentally serve those of the Victorian ideal. Animosity toward Wilde during the late nineteenth century came aboutlargely as a reaction toward perceived immoral aspects of his work.However the very nature of aestheticism invites a reading entirelyunrelated to moral values. As Lord Henry Wotton suggests at the veryend The Picture of Dorian Gray As for being poisoned by a book, thereis no such thing as that. Art has no influence upon action. Itannihilates the desire to act. It is superbly sterile. The books thatthe world calls immoral are books that show the world its own shame.That is all. It seems that while Wilde would ideally like the rest of society toread his works as art for arts sake, the reality of it all is thatresponsibility cannot be transferred quite so easily. Art isinescapably linked with the character and inner feelings with theartist and will be read accordingly by the reader. Both Dorian andBasil realise this, and in this respect we can perhaps see evidencethat Wilde himself was dubious as to just how far he could separatehimself from his art Dorian begins to experience a similarrelationship with Art, Appreciate it? I am in love with it, Basil. Itis part of myself. I feel that. Dorian soon comes to realise thatthe painting is a part of him, and does not merely objectify him, nordoes it exist independently from himself and Basil. No sooner has itbeen created than it is a part of their lives, of their experiences andfeelings. Toibin highlights this as problem concerning all of Wildesliterary works, particularly his plays is that they are forced tocompe te with the drama of his own lost years. Numerous biographieshave been published on Wilde, even films documenting his life. Havingbecome a part of popular culture today, most people know something ofWildes history, particularly his tumultuous relationship with AlfredDouglas. It is impossible to approach Wildes fiction with fresh eyesand no prior conceptions of what we suppose will be references to hisown lifestyle. Throughout the chapters of this dissertation, it has become clearthat art cannot exist purely for arts sake; a host of other factorsand influences come into play during the observers appreciation of theart. Wildes art cannot be experienced as art for arts sake, it isart to make a point, as a vehicle for Wilde to express his own opinionsand feelings. Just as the picture of Dorian Gray proves what sin cando to a man, so the novel raises its own issues and aims to make itsown point, as ambiguous as this may be The sitter is merely theaccident, the occasion. It is not he who is revealed by the painter, itis rather the painter who, on the coloured canvas, reveals himself.Recognising this, Wilde calls upon numerous narrative techniques todraw attention away from aspects of his own personal lifestyle. Thesetechniques include referencing the accepted ideal of beauty from theGreek era, injecting an element of farce in order to invite a questionin the authority of the narrator, and referencin g beliefs inaestheticism. Well-known in the late nineteenth century for his socialcritique and outspoken character, Wilde would often use this to hisadvantage by making extreme remarks on society that would defy beingtaking seriously, for example, I am too fond of reading books to careto write them, Mr Erskine. I should like to write a novel certainly; anovel that would be as lovely as a Persian carpet and as unreal. Butthere is no literary public in England for anything except newspapers,primers, and encyclopaedias. Of all people in the world the Englishhave the least sense of the beauty of literature. Instead of askingfor trouble, Wilde succeeds in creating a style that allows him morefreedom by taking on a role of questionable authority. Toibin suggeststhat Wilde is ready to mock and amuse, use old creaky plots and oldcreaky characters, and use them to play with a world of surfaces andsecrets. Mistaken identities, long-lost children, lost jewels,overheard conversations and many e xits and entrances are placed besidecynicism and corruption, opportunism and a large number of aphorismswhich manage to seem both glib and indisputable. Thus, he drawsattention away from his own personal life and allows himself much moreliterary freedom of expression through misunderstanding and the worldof farce. Wilde is only able to escape the restraints of aestheticism whenrelating true experience. His work, De Profundis, written fromReading jail between January and March 1897 is described her by Toibin:The tone of De Profundis was calmly eloquent; there was a hurtbeauty in the sentences, and a sense of urgency, a sense of hard thingsbeing said for the first time. Wildes old skills at paradox, hisability to use words as a way of turning the world on its head, were nolonger used to seduce an audience but to kill his own pain and griefHehad suffered too much to care if his tone seemed too emotional, writtennot as art, but as matter. The reference to seducing an audienceimplies that Wilde sought an acceptance that could not have been gainedwere he more serious and were he truthful. His skills of turning theworld on its head can therefore be read as defence mechanisms todisguise the man behind the face of the narrator. Despite the pleasure of secrecy described in Chapter 4, Wilde wasperhaps more concerned about conforming within the confines ofVictorian society than would be apparent at first glance. An importantevent with regard to Wildes moral values is that of his arrest andsubsequent trial. To quote Summers: the theme of martyrdom is athread that runs through much of his work, early and late, and probablyreflects the strong masochistic element in his personality, even as italso mirrors his sense of alienation. Moreover his disastrous decisionto prosecute the Marquess of Queensbury for alleging that he posed as asodomite was itself reactionary rather than defiant in nature,reflecting both his ambivalence toward homosexuality and his desire toappear to conform to the Victorian standards that he so oftenridiculed. This is to suggest that Wildes desire to conform mayhave had more of an influence over his actions than any early crusadefor gay rights or rebellion against Victorian morals and values.T oibin states that The personal became political because an Irishmanpushed his luck. The covert nature of homosexuality and thestrategies Wilde used within his literary works to concealhomoeroticism, may have given him a false sense of security and enoughbravado to believe that he could call upon Victorian standards toprotect him from slander. In the words of Summers: Although Wilde frequently (and sometimesself-servingly) asserted the impersonality of art, his own art isinseparably bound to his personality, or at least to the personal he soassiduously cultivated and promoted, and thus his works cannot beappreciated in isolation from his life. As a homosexual manattempting to exist successfully in Victorian society, whilst leading asomewhat secretive homosexual lifestyle, Wilde was ultimately unable tomarry the two markedly different worlds. Living in an intolerantsociety, Wildes only potential saviour was aestheticism, bringing withit the power to validate homoeroticism and invite acceptance from widerVictorian society. Yet, it was the elitist nature of aestheticism thatisolated others from joining the movement, and instead it became anexclusive club that provoked ridicule from many of the bourgeoisie andmiddle class. Just as Wildes fiction was inextricably linked with hispersonal life in Victorian society, so, over one h undred years afterhis death he remains an iconic writer, known equally for his lifestyleand his art. 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