Critical analysis on any article from FORTUNE magazine Essay

Critical analysis on any article from FORTUNE magazine - Essay Example However, this does not spell doom for advertisers because IPTV can also, like the internet, customize its advertisements to the viewer's preferences and TV watching habits. This makes it easier for marketers to make sure that their message is delivered to the select audience for whom it was intended, and IPTV therefore, can be a "godsend" for advertisers. At the moment, IPTV has not penetrated into the mass market, but this will surely change by next year. And the advertising industry is all set to take advantage of this as big companies are looking for alternate marketing channels owing to the lackluster response and growth in the conventional advertising medium: network television. Products such as TiVo ensure that consumers are not exposed to any advertisements. The Internet has also significantly altered the advertising media mix because when advertisers place their messages on popular Web portals and sites, they end up reaching a much wider target audience in a cost-effective manner, as compared to TV which is expensive, and where the audiences are shrinking every passing year. What IPTV promises are these targeting and measurement capabilities in the form of a point-to-point service, where every television in a house

Case Study on the nature vs nurture debate

Case Study on the nature vs nurture debate Is a childs development influenced by genetics or could the majority of influence be found in the childs environment? The nature vs. nurture debate has been at the forefront of psychology for many decades. The purpose of this essay is to try and answer this question using the case study of Genie. The essay shall also look at some of the roles that a multidisciplinary team would play in a case like Genies and if there was any hope of rehabilitation. The big question that had to be answered is whether or not it was too late for her to develop into a normal adult. Lenneberg (1957) (cited in Hayes, 1998) asserted that the critical period, in development for children is before puberty and if a child had not learnt how to speak, they would never pass the 2-3 word telegraphic stage. Lenneberg felt that after the critical stage has passed language would not be achieved normally after puberty. Chomsky (1957) (cited in Cardwell et al, 2010) stated that all human language has the same basic rules when it comes to grammar and structure. For most individuals development of language comes naturally as they grow. According to Chomsky (cited in Hayes, 1998), language is foremost a product of the brain and children have an innate acquisition device. The Chomskyan view supports the nature theory as he believed that infants are born with an idea of how language works and this inborn knowledge must be activated through exposure to language at the appropriate time. It is commonly known that behaviour is affected by consequences. Skinners (1935) (cited in Cardwell 1996) theory of operant conditioning states that the process does not require repeated efforts but an immediate reaction to a familiar stimulus. In the case of Genie, she was raised in isolation where she spent most of her childhood locked up in a bedroom. It is argued that her lack of language was due to the physical abuse from her father when she made a noise. It is noted that her father never spoke to her even when beating her. He was said to have barked and growled at her like a dog. In the following months after her discovery Genies mother reported that just after Genies isolation that she heard her saying words (Pines, 1997). This would show that Genie was on course to learn language. This would prove the theory of Chomsky, but would be against Lenneberg as he had theorised that the brain of a child before the age of two has not matured enough for the acquisition of language (Pines, 1997). However, throughout her life Genie failed to learn the grammar and sentence structure that according to Chomsky separates the language of human beings from other species. This could prove that she had passed the critical period for la nguage acquisition. With her history of operant conditioning, it can be argued that the behaviourist approach would be the best way to rehabilitate Genie. This would mean that the team dealing with Genie would have to change the consequences of an action. If Genie had been in the care of a modern day multidisciplinary team she would have been referred to several specialists. It can be assumed that Genie had expressive and receptive  language disorders due to her isolation. It is possible that part of her language issue may have related to the fact that her oral muscles had not developed enough for her to produce the correct sounds. During her years of isolation Genie was fed on baby food and soft foods. It has been documented that she would leave food in her mouth until the enzymes in her saliva started to digest the food (Pines, 1997). Genie would receive one to one attention from a speech and language therapist to try and overcome her speech and feeding difficulties. Language intervention activities would be effective with Genie as the therapist would interact and built a therapeutic relationship by appropriately playing and talking with her. The therapist would demonstrate how sounds are made and how to move the tongue to make certain sounds and use a variety of exercises to strengthen the muscles of the mouth. Genie could be sent to an occupational therapist (OT) in order to assess her needs and develop a care intervention plan. OTs believe that behaviour is learned and that poor or non advantageous behaviours can be unlearned and replaced by lasting habits (Turner et al). The OT could design a program for Genie that incorporates social skill training, anxiety management and behaviour modification. The use of the Canadian Occupational Performance Measure (COPM) (appendix 1) would measure Genies progress and ensure that a humanistic approach is taken regarding her care and rehabilitation. The COPM put Genie at the centre of her care plan and seeks to help her find meaning to her life in her everyday activities. As the months progressed Genie showed numerous breakthroughs. One such break through was noticed when Dr James Kent left Genie and she showed a change of facial expression. Genie had treated everyone the same and showed no emotional reaction to anyone or anything, however Dr Kent noticed her expression changed from happy to sad. She had always shown the ability to explore her environment but had never shown emotion. This showed that she could develop emotional attachments therefore she was able to learn. Bowlby (1969, 1973) (cited in Cardwell et al, 1996) stated that the importance of emotional attachment to a caregiver ensures that the child will be fed, protected from harm and educated. There is evidence to say that an infants need to form attachments is innate. This would also suggest that the parent also has an innate tendency to form attachments with their children. From an evolutionary point of view it is in the mothers best interest to see her children grow up and produce chil dren of their own. Through research, Klaus and Kennel (1976) (cited in psychology4a.com) found that mothers that were allowed constant contact with their newborn babies developed stronger bonds that mothers that only had contact for feeding. This has lead to the skin to skin hypothesis that has been implemented in hospitals. Fathers are also encouraged to be present at the birth to develop an early attachment. In the case of Genie little is known about her birth, however since she was born pre 1976 it is assumed that the father was not present at the birth and that mother and child were separated soon after the birthing process. This could have played a part in the inability to form an emotional attachment to Genie that lead to her years of abuse. David Rigler had advised that he felt that it was important for Genie to develop strong emotional attachments as part of her development. David Rigler and his wife Marilyn ended up fostering Genie. The Riglers took on the roles of Genies t herapy, teacher, principle investigator, and foster parents. While living with the Riglers Genie showed improvements in her therapy sessions. This could be due to her being in a nurturing environment were she was praised for making progress. This theory on learning is support by behaviourists Skinner (1957) (cited in Hayes, 1998) and Thorndyke (1911) (cited in Cardwell, 1996), who saw learning as happening mainly through the law of (positive) effect. This was demonstrated in the Skinner box experiment (Cardwell, 1996), which rewarded rats with food for a positive action. Initially the trap animal would demonstrate escape seeking behaviour; however one of the actions would provide the subject with a food reinforcer. This would result in the subject changing its behaviour to seek the reward. So in Genies case, every time she received praise for a positive action, she was more likely to repeat the action. While Genie was in isolation, her physiological needs were not completely met. According to Maslows (1954) (cited in Turner, 2007) hierarchy of needs (appendix 2), there are two sets of human needs. One set concerns basic survival needs such as physiological and basic safety needs. The other set concerns self-actualisation, the realisation of an individuals full potential as shown in creativity and the use of intellect. Since her physiological needs were not met Maslows theory states that she would not have been able to ascend the hierarchy and begin to satisfy her creative and intellectual drives. Dr. J. Shirley the psychiatrist, wanted to determine her mental capabilities. The sleep test that was carried out showed Genie had patterns that indicated mental retardation. It is not known if Genie was born this way or if the severe neglect contributed in her mental health. It is documented that at 14 months, Genie was diagnosed as being mentally retarded. It can be argued that Genie was not born mentally retarded but was handicapped due to lack of normal childhood development during her early years. Further test results showed that Genie did not display any left brain activity because it appeared not to have developed during her pre-pubescent years. The left part of the brain is the area that is responsible for language acquisition and development. Psychological tests showed that her mental age increased by one year, every year since her discovery. This is not characteristic of mental retardation. It can be argued that because the critical stage was missed, the biological ability for the brain to fully develop was therefore impaired. There are several flaws in the nature versus nurture debate. The flaw in the use of Skinners rats is that breeding within a family, as rats do, is known to cause genetic problems that can impair intelligence. There is also the question relating to Genies mental retardation. If she was born retarded then her ability to develop at the relevant critical periods was impaired from birth by nature. In Genies case it can be argued that nurture seemed to play a greater role than nature. She suffered from an environment were she was not nurtured positively. Most present day researchers agree that human traits are determined by both nature and nurture. They may disagree on which part has the greater influence.

A Students View Of Paulo Freires Pedagogy Of The Oppressed Essay

A Student’s View of Paulo Freire’s "Pedagogy of the Oppressed" Freire was one of the most radical insistent educational thinkers of his time. He proposed his own educational theory for society. His argument was for an educational system that focused on creative learning and freedom. Freire’s method was known as "the problem posing" concept. It would allow students and teachers to communicate through dialogue while both are equally responsible in the learning process. Freire’s assessment of education did not support a system that mechanically deposited and reproduced pre-selected information with no communication or dialogue from the student. He feared this would manage and oppress society. This method was known as the "banking" concept. I am of two minds about Freire’s claim that the problem posing concept is most effective. On the one hand, I do agree that the problem posing concept is often effective in the freedom of creativity in certain subjects such as art and creative writing. On the other hand, the banking concept is a necessary evil because it sets down the foundation of education in subjects such as English, science, and mathematics. In the problem posing concept the teacher and the students work together through communication. The teacher no longer just teaches and the students no longer just listen. They both are in dialogue and are able to teach and learn from each other. With this method the students are allowed to share their own ideas and freedom of expressions. When a student expresses his/her thoughts with others he/she is challenged and becomes more aware of his/her own reality, allowing transformation into the world of freedom and not domination. Jone Lewis cites Freire who says, "Education either functions... ...ed to being shaped. The student must be able to be creative and see the world freely as a reality in progress. Freire also claims that this concept may be resisted by the oppressing classes to any changes in class. He insists that the banking concept of education is a ready- to- wear approach. A student is an object to be filled with pre-selected information. This approach he believed minimized a student’s creativity thus making him/her adaptable and more manageable in society. My feelings on these issues are truly mixed. I do believe that a student should be able to do more than reproduce pre-selected information while learning. On the other hand, I feel that it is important to learn the basic facts first. I do agree that the problem posing concept is effective in some subjects, however I think other subjects of education are better served with the banking concept.

Say No to Crazy Fan

Argumentative Writing Say No to Crazy Fan Do you have a friend or roommate who is crazy about a pop icon? I have. She would never like to miss any launching ceremony of new album even if she has to skip all day’s classes. She spent most of her allowance buying all products about the pop icon even if she has no money for a decent meal. She can’t concentrate on homework because some people are criticizing her idol on the Internet and she must defend his image for him. This is a typical example of celebrity worship syndrome. It is likely that you may just like my friend suffer from this syndrome which does no good to personal growth.As the result of this syndrome, you may get physically and psychologically hurt and your moral standards may become vague. So what you need to do is getting rid of this syndrome and saying no to crazy fan. To begin with, being a crazy fan of pop music icons can ruin your health. As you are a crazy fan that means you have to follow your idol eve rywhere; you have to spend every cent of your allowance proving you are a devoted supporter and you have to collect every piece of news of your idol. Your life quality becomes lower, no healthy meals, not enough sleep and no leisure time.What’s worse, some crazy fans want to resemble their idols in appearance so they turn to plastic surgery. For example, a Superman fan, Herbert Chavez, a 35-year-old Filipino man who had had cosmetic surgery to make him look like Superman. A psychiatrist told Bandila News that Mr. Chavez could be suffering from body dysmorphic disorder, meaning that he is obsessed with making cosmetic changes to his body(Daily Mail,2011). It is obvious that the obsession to superman has totally destroyed the man, because plastic surgery absolutely makes irrecoverable and damaging changes to his body.This case may be a little extreme; however, it reminds you that sometimes being a crazy fan, you have to sacrifice your health or face with physical damages. Anoth er reason is if you are too obsessed over a pop icon, you will tend to be psychologically abnormal. It seems like the only thing you care about is your idol. Your family and career is far more insignificant than your favorite icon. You become irrational and cold-blooded, even losing your mind. You must still remember Yang Li-juan, who had idolized Andy Lau for 13 years. She quit school.The only thing she cared about in life was to meet her idol. The newspaper Guangzhou Daily said Yang lijuan is the victim of popular star worship. Li Zixun, a well-known Chinese psychologist, told Chongqing Times that she must be paranoiac to take these extreme actions. Not everyone would be the same as Yang, but it is probable you put yourself at the risk of some unhealthy psychologies when you choose to be a crazy fan. Lastly, the crazy love for an icon may lead you to vague moral standards. Not all pop icons can set a good example for the public.Some of them do something immoral or against the law. For instance, in 2007, Lindsay Lohan, American actress, was arrested in Los Angeles for suspected of driving under the influence of alcohol or drugs after a crash on Sunset Boulevard(Guardian,2007). In 2011, she pleaded not guilty to stealing a $2,500 necklace from a Los Angeles jewelery store(New York Times, 2011). It is quite possible your idol’s misbehaviors may mislead you to do something immoral; meanwhile you won’t take it seriously because those pop icons can always get away with it.However, rules change when it applies to you: you may get severe punishment and regret what you did for the rest of your life. So being a crazy fan and following your idol blindly, you may lose your precious morality and virtues. In a word, it is evident you have to sacrifice a great deal in order to become a crazy fan. It is worthless to take the risk of physical and psychological damage and losing morality. Being a crazy fan is harmful for personal growth. So please say no to craz y fan! [702] ReferencesEwen MacAskill(2007, May 28) Actor Lohan arrested after car accident Retrieved October 26, 2012, from http://www. guardian. co. uk/world/2007/may/28/film. usa? INTCMP=SRCH Damien Gayle (2011, October 8) Obsessed Superman fan has cosmetic surgery to look like his hero Retrieved October 26, 2012, from http://www. dailymail. co. uk/news/article-2046303/Superman-fan-cosmetic-surgery-Herbert-Chavez-ops-look-like-hero. html China. org. cn by Zhang Rui (2007, March 30) Celebrity Worship Turns Tragic Retrieved October 26, 2012, from http://www. china. org. cn/english/entertainment/205460. htm

Decadence in Death in Venice

The premise of decadence was tremendously popular in late 19th century European literature. In addition, the degeneracy of the individual and society at large was represented in numerous contemporary works by Mann. In Death in Venice, the theme of decadence caused by aestheticism appears through Gustav von Achenbach’s eccentric, specifically homoerotic, feelings towards a Polish boy named Tadzio. Although his feelings spring from a sound source, the boy’s aesthetic beauty, Aschenbach becomes decadent in how excessively zealous his feelings are, and his obsession ultimately leads to his literal and existential destruction.Thus exemplifying, as will be examined in the following, how aestheticism is closely related to, and indeed often the cause of, decadence. Although the narrative is about more complexities, the author’s use of such vivid descriptions suggest the physical, literal aspect of his writing is just as important to the meaning of the story. The first an d most obvious instance of aestheticism and decadence as correlating themes in this story is the title, Death in Venice. By shear nature the title relates the concepts of death and dying to the city of Venice, which implies that the location is where a death will occur.However, this is paralleled by the opening of the story when Mann drearily tells of Aschenbach’s stroll through Germany. â€Å"It was early May, and after several cold and clammy weeks, a mock summer had set it. The English Garden, though sprouting only tender leaves as yet, had been as muggy as in August. † In the reading of this passage it proves ironic that the title is Death in Venice as the protagonist seems to be dying in Munich: from his loss of creative ability, depletion of strength to the course of his walk ultimately leading him to a graveyard from which weakness forced him to catch a train home from.There lacks a sense of elegance with Mann’s description of aspects concerning Germany a nd a typical Aschenbach. This can be contrasted with the eloquent description given to Venice, † He saw it once more, that landing-place that takes the breath away, that amazing group of incredible structures the Republic set up to meet the awe-struck eye of the approaching seafarer: the airy splendour of the palace and Bridge of Sighs. † The obvious pleasure that Aschenbach feels as a result of the aesthetically pleasing city foreshadows how aestheticism will ultimately ead to his death and decay, important ideas within the context of decadence.This novella is a decadent meditation on the downfall of man. In an attempt to inspire his writing he decides to take a trip because he believes a change in scenery may add â€Å"those aspects of fiery and playful caprice† to his work. After arriving at his mountain cottage on an Adriatic island off the Istrian coast, he decided that the environment was â€Å"not conducive to making him feel that he had found what he was looking for. His descent into decadence begins after his arrival in Venice. Aesthetic and decadent traits are present within the context of the city – his loss of dignity for falling in love with a fourteen year old boy and subsequent degradation, also the idea that this boy prompts in Aschenbach a yearning for ideal aesthetic beauty. Immediately upon first sight, he became captivated by the boy’s aesthetically pleasing appearance, â€Å"Aschenbach was amazed to see that the boy was absolutely beautiful.His face, pale and of a graceful reserve, surrounded by honey-colored curls, with its straight nose, lovely lips, earnest expression, sweet and godly, all recalled Greek statues of the noblest era; but despite the pure and consummate form, his features exerted such a unique personal char, that the observer felt he had never encountered such perfection in nature or the arts. † Eventually his aesthetic attraction evolves to that of an emotional sort and he falls in love with him, although he at first denies this to himself, and his fixation eventually leads to his decadent demise.Therefore transitively, it could be understood that Aschenbach’s aestheticism directed him toward reckless decadence. However, as he walked down the crowded city streets scrutinizing his second destination he was repulsed. â€Å"The farther he went, the more tortured he was by the dreadful alliance of sirocco and sea air – a condition that both agitates and enervates. He sweated painfully. His eyes blurred, his chest tightened, he was feverish, the blood pounded in his temples†¦wiping his forehead, he realized he had to find a different vacation spot. This idea is a strong instance of aestheticism interacting with decadence in the sense that Venice originally represented to Aschenbach, beauty and renewal. His trip was supposed to refresh him as an author and an aging man but instead he reached a land that, although aesthetically pleasing, was dirt y, crowded, and repugnant. The last moments before Aschenbach slipped into complete decadence, his object of adoration was not enough for him to suffer for. He packed his bags and said his good-bye’s to both the boy and the city that had twice made him ill, prepared to leave.Misdirected baggage was the practical reason for his remaining in Venice but as Aschenbach gazed adoringly at his idol he admits to himself that it was Tadzio, the embodiment of youthful beauty, who had made it so difficult for him to leave. At this point in the narrative it becomes clear that quite literally Tadzio is a representative of the aesthetic muse that Aschenbach, being an artist, was searching for. From this point on he watches as Tadzio eats his meals, plays on the beach, and even goes so far as to trail his family on land and sea around Venice.While following him by way of gondola, Aschenbach addresses his aesthetic intoxication, â€Å"The adventurer felt as if his eyes were drinking in the voluptuousness, as if his ears were being wooed by such melodies; he also recalled that the city was ill, but concealing its illness out of greed, and he peered more wantonly after the gondola floating ahead of him. All that the confused man knew and desire was to keep ceaselessly pursuing the object that inflamed him. † It is interesting how in the midst of the description of Aschenbach’s therapeutic tryst, Mann shows Aschenbach’s thoughts coming back to the retched illness of Venice.This time he goes into more detail by addressing the greediness of the people, in order to not scare away tourists, to lie about the impending disease. This passage gives insight into more than just Aschenbach’s captivation by Venice but of the decadent trance he is put in by Tadzio’s exquisite appearance. It exemplifies Aschenbach’s knowledge of the danger of disease that is taking over the city but proves that he is so deeply enthralled by the beauty of Tadzio that his senses have become greedy and force him to remain in Venice at all costs, despite the dismay that will come to his physical being, to get their aesthetic fix.As disease and panic runs ramped, people flee and the city becomes emptier and emptier, Aschenbach feels relieved at the lessened chance of being caught adoring Tadzio from close and far and begins to disguise his passion less. He begins dressing extravagantly in an attempt to appear more youthful and attract the young boy. â€Å"Like any love, he wanted to please, and he was terrified that it might not be possible. He added cheerful, youthful touches to his suit, he wore jewels and used perfumes; several times a day e spent a long while getting dressed, and was adorned, excited, and anxious when he showed up for meals. Viewing the boy’s sweet, bewitching youth, he was sickened by his own aging body: the sight of his gray hair, his pinched features, mortified him, left him hopeless. He felt an urge for physica l revival and renewal; he frequented the hotel barber. † As Aschenbach changed his aesthetic appearance; donning jewels and perfumes, wearing makeup, dying his hair, he begins to recapture a youthful appearance.With his young and radiant appearance he now resembles the two men featured in earlier chapters of the novella; the stranger who had inspired a youthful craving in him in Germany, and the deplorably exuberant old man from the boat ride to Venice. Both men embody, at least in Aschenbach’s eyes, frivolous indulgence and fraudulent aesthetics. In particular, the moronic drunkard from the boat appeared to Aschenbach bizarre and obtrusive. â€Å"It was repulsive to see the state to which the dandified old man had been reduced by his sham association with youth. † However, now Aschenbach’s outlook, and appearance, has changed drastically.He is now concerned with making his own appearance more youthful and aesthetically pleasing, giving into decadence just like the foppish man he had once scorned. Thomas Mann’s particular use of detailed descriptions throughout the narrative makes obvious the literary importance of aestheticism. As the story progresses, Aschenbach becomes more and more concerned with aesthetics. The reader can see this from his original desire to a change of scenery, to his obsession with Tadzio’s appearance, and finally the changing of his own appearance. Eventually his concern with aesthetics becomes an obsession, which ultimately leads to his decadence.The change of scenery for something more aesthetically youthful and beautiful that Aschenbach had yearned for turned out to be the scene of a crowded, stifling city filled with cholera that eventually leads to his demise. Before this can occur however, he becomes internally decadent through his indulgence in Tadzio’s appearance. He then changes his appearance to please his idol which in turn corrupts himself by turning him into the type of decad ent man he once despised. These themes of aestheticism and decadence, not in juxtaposition but in duality, are used frequently by Mann throughout the novella.