Scientific Management in Todays Workplace

The principles of scientific management developed by Frederick Taylor have shaped the work of many organizations. Overall, this approach implies that every procedure should be specified and standardized. This standardization is supposed to replace the rules of thumb which are deemed to be less effective.Advertising We will write a custom essay sample on Scientific Management in Today’s Workplace specifically for you for only $16.05 $11/page Learn More This paper is aimed at discussing the applications of scientific management in modern companies. In particular, I would like to discuss this question from the perspective of a consumer because this method can directly affect the experiences of clients. Overall, one can say this approach is still of great importance to many business administrators. As a rule, it is believed that scientific management is applied mostly to the needs of manufacturing companies; however, one can say that this model can af fects the work of service organizations as well. For instance, every visitor of a fast-food restaurant can notice that practically every workplace procedure is standardized. The employees of such companies have to adhere to specific instructions, especially when they prepare and serve food. In this case, the goal of scientific management is to improve the time-efficiency of the personnel. This model enables fast-food companies to serve a greater number of customers as quickly as possible. This is one of the reasons why these fast-food restaurants are able to achieve financial success. To some, their practices reflect the ideas of Frederick Taylor. Another example that one can discuss is the work of modern airports since these organizations also have to serve the needs of many customers. Moreover, it is important for them to optimize their performance, especially to improve their time management strategies. For instance, the luggage of passengers is always scanned, bar-coded, and tra nsported to a particular plane. This set of procedures ensures that people do not have to stay in extremely long queues. Moreover, these rules are supposed to prevent the loss of property. The employees of airports have to follow these procedures, instead some rules of thumb. Again, scientific management is imbedded into the work of these organizations. Business administrators apply it in effort to improve the experiences of clients. Finally, many people have experienced of dealing with call centers. One can notice that the employees of these organizations often ask the same questions or use similar expressions, especially when greeting a customer. Some people may find this similarity rather irritating, but they should not blame workers.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More This behavior can be explained by the rules and requirements that call centers set for employees. In partic ular, managers want them to follow specific rules of etiquette while interacting with clients and ask specific questions, particular when a client complains of something. Thus, one can argue that scientific management can influence even communication between customers and companies. On the whole, the ideas expressed by Frederic Taylor and his followers continue to play an important role for many organizations. Certainly, this approach may be criticized for making work too monotonous. Nevertheless, many companies adopt this method in effort to maximize performance. This method also affects the way in which organizations interact with clients. Most likely, the principles of scientific management will find practical applications in the future. This model can bring such benefits as time-efficiency, cost reduction and clarity of workplace duties. This is why it still enjoys significant popularity among many managers who may work in very different organizations. This essay on Scientific Management in Today’s Workplace was written and submitted by user Eliza Hogan to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Salem Possessed essays

Salem Possessed essays In the past, the word Salem has always been somewhat synonymous with the infamous witch trials. Rather than overlook the ordinary people living in the towns in which Paul Boyer and Stephen Nissenbaum write, they instead take the instance of the witch trials of 1692 and springboard from them into a detailed inquisition into the entire history of the small village of Salem. In their own words, Boyer and Nissenbaum have exploited the focal events of 1692 somewhat as a stranger might make use of a lightning flash in the night. That is to say, the authors strive to show how the witch trials were not simply a completely spontaneous event, but rather a long, horrible process by which individuals were singled out, tried, and executed in order to vent emotions of hostility towards change. Boyer and Nissenbaum proposed that one difference between the accusers and the accused was a difference of economic status. The way in which the authors go about this, however, is in a somewhat difficult to comprehend style that goes back and forth between the years, forcing one to rethink all the facts thus far each time a new chapter is introduced. In addition, the authors tend to focus mostly on the social and economic aspects of witchcraft, with little to nothing as far as further explanation of the actions of the women accused. In the year 1692, the small farming village of Salem, Massachusetts saw a social phenomenon that would propel the village into the history books: the calamity that was witchcraft. The witch trials were initiated whenever three young girls, Betty Parris, Abigail Williams, and Ann Putnam were caught performing fortune telling rituals in the woods, trying to gather information on what type of man would be best for them. Soon thereafter, the girls began experiencing hysterical fits, prompting Betty Parriss father, Reverend Samuel Parris, to call in the authorities to confirm the cause of the girls symptoms. The authoriti...

Time Capsule Essay Example | Topics and Well Written Essays - 750 words

Time Capsule - Essay Example Between 1404 and 1414, Konrad came up with a number of paintings that were a depiction of ‘The Crucifixion’. During this period of Renaissance, religious forms were widespread in the society because of a society domination of the Church of Roam and the Catholic Church (Kleiner, 2006). On the Age of Baroque, an example of a possible Caravaggio find would be one of Caravaggio’s paintings—an Italian painter who downplayed the pre-existing rules of painting and came up with a new way of doing his artwork. His paintings, such as the â€Å"Inspiration of Saint Mathew,† were a reflection of the emotional and physical aspects of a human being. His work was a true image of â€Å"The Age of Baroque† in Italy and France that used exaggerated motion to elicit drama, grandeur, and tension alike (Guisepi, 2007). Music Throughout the existence of humanity, music has existed to move the human being emotionally and pump him up physically. In both periods of Renaissance and the Age of Baroque, music could be found in the form of sheets or notes. This could be a clear reflection of an era where the humanity existed without any advancement in technology that dominates the contemporary world. Additionally, from a critical look at of some of the musicians one would show that they helped to lay a platform of establishing musical sound of then and today. One is likely to find music notes of the likes of Leonel Power, a composer of early Renaissance times and Jacopo Peri, an Italian musician of the Age of Baroque (Guisepi, 2007). Descriptions of drawings or architecture Architects of the Renaissance time wanted to transform their status of professionalism from skilled laborers to artists. The architects of this era wanted to come up with structures that would be appealing to the human being both emotionally and reason wise (Kleiner, 2006). In this regard, one would hope to find in the time capsule notes and a set of plans on marvels like the Florence Cathedral among other great structures of the time that paved way for modern architecture. In the time capsule, works by Renaissance architects like Leon Battista, Andrea Palladio, and Filipo Brunelleschi could be a possible find. A possible reflection of Baroque architecture could be through finding the works of architect like Sir Christopher Wren. Such a finding would mirror the new emphasis that Baroque architecture placed on bold massing, domes, and light and shade colonnades etcetera. A possible find in the time capsule would be a set of plans or notes that relate to the rebuilding of the churches of London following the 1666 Great Fire of London (Kleiner, 2006). Philosophy From a philosophical point of view, the age of Renaissance portrayed a transition from the mediaeval thinking of an anonymous existence to the uniqueness in man be cause of enlightenment that characterized the man of the time. While Greece could be the source of early philosophers, the age of Renaissance came up with new values while old philosophies found new meanings. Recovery of ancient documents, renewed emphasis on individual freedom, and opposition of institutional authority made the practice of education undergo a revolution. In the time capsule, one can locate a copy of Galileo’s work on the telescope. A more interesting find however would be a discovery of the telescope he used to make astronomical observations. Galileo, an Italian, helped revolutionize the scientific landscape of the era of Renaissance through his invention of the telescope and many contributions in mathematics and physics. The nature of the Age of Baroque could be reflected in the time capsule by coming across the work of a philosopher of the time like

Cultural Influences on a Childs Health Research Paper

Cultural Influences on a Childs Health - Research Paper Example No one is more dedicated in contributing to a child’s health and welfare than his own immediate family members. It can be seen that the families of South Eastern countries like China and India take extreme care in bringing up their child healthily and prosperously. But with regard to American children, they depend more on medical experts and health centers for their health and medical needs. The US being a developed and advanced nation have all the latest technology and medical care system, but unfortunately, does not giving proper care and nurturing to the children when they need it the most. Illness and health beliefs: Every country has its own ancient beliefs and customs, when it comes to their child’s health and welfare For example, it is widely known fact that Chinese practice a holistic approach, when it comes to health and well –being of their child. As per Garnecki (2007)â€Å" In Chinese culture during post partum, the mother and baby are supposed to remain home-bound to prevent against death and disease†.On the contrary, an American women give least importance to their child’s health in post and pre –delivery stage. Even many European countries have their own traditional means for protecting the children from malignant diseases and illnesses. However, such things can sound hilarious to an American family, but are followed respectfully by couples in South Asian, Mexican and European countries even today. The aim of symptom management is to treat the child in advance stages of an illness.

U,S Economy Change Before and After WWII Ended Essay

U,S Economy Change Before and After WWII Ended - Essay Example Most of the sectors which oriented themselves to defense kind of production were like electronics and aerospace. Therefore, despite the fact that numerous Americans feared the return of the depression that had hit the nation before the war, after this war, they got quite a significant rise in personal income during the war that reached the year 1945. (Tassava, 2010) The two decades following WWII, are best described economically as ‘Growth period’. Despite the fear of most Americans that depression would haunt America again after WWII; up to 1970s, the economy experienced just mild recessions. An example to show this growth is that the period running from 1945-1960, the real GNP growth rate was (52%) fifty two percent. During the same period per capita GNP escalated by (19%) nineteen percent. Most notable after the WWII was the rise in production of consumer durable commodities. These commodities were like TVs, Cars as well as household appliances. The US’s service industries also expanded a great deal. (Walker, 1996 p

Influence of Oscar Wildes Sexuality

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

Examination Of Music History :: essays research papers fc

A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to become." - W.H. Auden. This quote best explains the complex art of music. Music is an elaborate art form that will always remain ever changing. Music developed drastically from it's beginning in the Prehistoric era to the 14th Century. The exact origin of music is unknown. It is known that music was used in prehistoric times in magical or spiritual rituals but no other use is known. This knowledge is borne out of the fact that music still forms a vital part of most religious ceremonies today. The history of Greek music is problematic. Although there are frequent references to musical performance in Greek manuscripts, there are less than twelve fragments of actual Greek music, including both vocal and instrumental music, that have survived. It is impossible to fully understand the notation to make an authentic performance. For the Greeks, music was of divine origin. According to Greek mythology, the gods themselves invented music and it's instruments. Many of the early myths told of the powerful effects of music. Music played an important part in both the public and private lives of the Greeks. They believed it could deeply affect human behavior. Greek music was built up of a series of distinct modes, each with it's own name. According to the doctrine of ethos, each mode was so powerful that it gave music the ability to influence human actions in a precise way. The Phrygian mode expressed passionate and intimate emotions, where as the Dorian mode produced forceful, rigid feelings. In later Greek history the doctrine of ethos was widely argued by the most philosophical of men. Plato and Aristotle both had broadly different views on the power and importance of music. The persocratic philosopher Pythagoras was even interested enough in music to develop the numerical octave system that we still use today. The Classical Greeks used music in much of their drama and by the time Greece was made a Roman province, music dominated dramatic performances and social activities. There is not a great deal of original Roman music. Most of the music that did come out of the Roman era was derived from the Greeks. Despite this, there was definite musical activity in the later Roman Empire. An ample amount of evidence survived for instruments and a good deal of theory also.