...SOUTHERN RURAL SOCIOLOGY, 24(1), 2009, pp. 200–222. Copyright © by the Southern Rural Sociological Association DURKHEIM DID NOT SAY “NORMLESSNESS”: THE CONCEPT OF ANOMIC SUICIDE FOR INTRODUCTORY SOCIOLOGY COURSES PHYLLIS PUFFER BIG SANDY COMMUNITY AND TECHNICAL COLLEGE ABSTRACT The definitions of anomic suicide presented in introductory sociology textbooks from 1996 to 2007 were compared with the definition given by Durkheim in his own writings both in the original French and the English translation. It was found that only one textbook correctly gave Durkheim’s own definition while the other definitions showed little or no relationship to the original concept. The original concept was based on an analysis of the economy, more particularly the business cycle, and refers only to the structure of society and not to the mental state of the individual. An attempt is made to discover the source of such a widespread and well-accepted error. All of us are concerned about the introductory course in sociology, no matter the august reaches of academe we might have attained. Nearly all of us have taught it at least once, if only as teaching assistants during our graduate school days. Some of us always teach it. The rest depend on it as a basis for their advanced courses, for a supply of research assistants, and ultimately to build public appreciation and support for the field. If we think of the number of students who take introductory sociology in just one small...
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...Guerline Donisvitch “Introduction to Literature” Ann Rasmussen April 23, 2009 Barbie Doll The poem begins in a fairy-tale vein, the archaic term “girl-child” being used to underscore the mythic quality of the story. The dolls, stove, iron and lipstick are all traditional play things for young girls, but they are also markers of an identity in the making, the things that young girls grow to identify with their own social roles. The doll presents an idealized image of the body, and stove and irons tell them what kind of work is expected of them as adults. The lipstick perhaps is the most sexualized cosmetic for women, signals to young girls that they will be valued for their physical appearance. The “magic of puberty” introduces the theme of growth. It is a magical time because the body changes rapidly. She also refers to the pain that comes with puberty. When girls are growing older they are really cruel to each other. The “girl child” is told she has “a great big nose and fat legs” even though she is smart, healthy and strong. The girl was made to feel guilty for who she was, for her intelligence and abilities, and also for not being slim and “beautiful.” She apologized to everyone for not being the person they wanted her to be, but all they could see was her body and how it did not match their idea of what a woman should look like. They tried to help her be more of an idealized woman by suggesting how to compensate for her unfeminine qualities. “girl-child”...
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...1 2.1 The definition of Marketing 1 2.2 The introduction of consumer behavior 2 2.3 Culture 4 2.3.1 Aspects of culture 5 2.3.2 Myths and Rituals 6 2.3.3Sacred and Profane Consumption 9 2.3.4 Religion subcultures 11 3.0 Conclusion 12 4.0 References 13 1.0 Introduction With over 6.3 billion people, the world is a marketing oyster. The trouble or the task that most marketers face is identifying how to sell their product to those people. There are many ways to sell a product, but identifying the buying behavior of the target market and catering to those behaviors is integral in today's complex society (East, R., Wright. M, & Vanhuele, M, 2008). Culture is the patterns of behavior and thinking that people living in social groups learn, create, and share. The purpose of this report is to mainly introduce several important aspects of culture and then make some general comments on how culture has an impact on decision making of consumers. 2.0 Main body 2.1 The definition of Marketing Marketing consists of activities which lead to a situation where both the organization and the customer get what they want. It involves the creation, distribution, promotion and pricing of the organizations output. In other words it involves almost everything done within business. Marketing might sometimes be interpreted as the art of selling products, but selling is only a small fraction of marketing (Peter, J, & Olson, J (2010). Traditionally marketing has been...
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...Hall) . From the above statement we can say that, organization behavior shows how people behave in an organization and how their behavior affects the working of the organization. To understand organizational behavior we first need to know what an organization is. According to Robbins (2006), an organization is a consciously coordinated social unit, composed of two or more people that functions on a relatively continuous basis to achieve a common goal or a set of goals. Now we can clearly state that organization behavior is a distinct area of expertise which studies - individuals, groups and structure. It puts in these studies gained, in order to make organizations work more effectively and efficiently. Organizational Behavior is the study and application of knowledge about how people, individuals, and groups act in organizations. It does this by taking a system approach. That is, it interprets people-organization relationships in terms of the whole person, whole group, whole organization, and whole social system. Its purpose is to build better relationships by achieving human objectives, organizational objectives, and social objectives. (http://www.nwlink.com/~donclark/leader/leadob.htm). To conclude, organizational behavior deals with the study of people in an organization, and how every individuals and every group’s behaviour affects the organization as a whole. MOTIVATION According to Bratton (2007), “The word ‘motivation’...
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...VRIJE UNIVERSITEIT AMSTERDAM COURSE ETHICS 4.3 with special reference to PROFESSIONAL ETHICS Code 61432100 [final version January 10, 2012] Academic year 2011-2012 Period 3: January. Faculty of Economics and Business Administration: MSc Program Business Administration. Prof. dr. Eduard Kimman course assistant: Karin Tjeerdsma (k.t.tjeerdsma@vu.nl) Background This course, in the setting of various Master Programmes at the Faculty of Economic and Business Sciences, is about the morality of professional people acting in the context of a business organization. Business organizations or organizations as such do have a formal structure in which responsibility ultimately lies with a director or the board of directors. A business organization forms a context for a great variety of decisions. In a juridical perspective the organization is the bearer of numerous transactions. Inside organizations one may find remarkable opportunities for just or unjust behaviour, for moral or immoral behaviour, for situations of equality or inequality which deserve to be evaluated ethically. As FEWEB is a school for the study of economics and business administration in an economic perspective we focus on so-called “economic decisions” which are decisions being taken with some form of economic calculus. In this course we will spend time on questioning whether the economic or financial outcomes of these decisions are morally neutral or deserve some further moral investigation...
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...Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an economic and social tool to achieve some wealth, flexibility, and innovation for individuals and groups; Tradition functions, partly and at times largely, as a mythological state which produces the sensation of larger connectedness and stability in the face of shockingly massive social change over the last half-century. One might also say that Modernity is an economic force with social, cultural, and political correlatives; Tradition is a cultural force with social, economic, and political correlatives. Satisfyingly asymmetrical in their relation, they require us, in talking of one, to talk also of the other, just as they induce us to move as nimbly as possible between theoretical abstraction and experiential reality. But their separation is itself part of the mythological drama in current Indian thought, just as their mutual implication is the import of the same ironic smile that brings to an effective close any conversation one hears here about them. And so we take them in turn only...
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...to sell – better than the competitors * Consumer response is the test of whether a marketing strategy will exceed – knowledge about consumers is important Segmenting Consumers * Marketing segmentation – identifies groups of consumers who are similar to one another in 1+ ways and then devises marketing strategies to appeal to 1+ of these groups * Demographics – measure observable aspects – age, gender, family structure/life stage, social class/income, ethnicity * Psychographics – measure consumers’ personalities, attitudes, values, lifestyles Marketing’s Impact on Consumers * Relationship marketing – making an effort to interact with customers on a regular basis, giving them reasons to maintain a bond with company * Ex: restaurant sending a birthday coupon to consumer every year * Popular culture – music, movies, books, sports, celebs, consumed by mass market – a product of and inspiration for marketers * Consumer-generated content – consumers voice their opinions about products, brands, etc. on social media * People often buy products not for what they do but for what they mean – ex: Nike vs. Adidas, both running shoes, but people swear by Nike The Global Consumer Virtual Consumption * E-marketing: more convenience, no time/location barriers * Horizontal revolution –...
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...the precursor to Indian Writing in English as we know it today. Raja Rao’s works are steeped in Indian spiritualism, and often the theme is metaphysical. Based on his experiences in Europe, his novels are also about the interplay between Indian and Western culture. The influence of the Indian nationalist movement and Gandhi on Raja Rao is evident in his early books. He received the Neustadt International Prize for Literature in 1988 and the Sahitya Akademi Award in 1963. He passed away in Texas, Austin. Works * Kanthapura * The Cow of the Barricades, and Other Stories * The Serpent and the Rope * The Cat and Shakespeare * Comrade Kirilov * The Policeman and the Rose * The Chessmaster and His Moves * On the Ganga Ghat * The Meaning of India * Great Indian Way: A Life of Mahatma Gandhi * Kanthapura Kanthapura – The South Indian Village The story of the Nobel belongs to knthapura, a small, obscure village in remote corner of south India. The people here were mostly poor, illiterate and backward. The village was caste-ridden, with different quarters in it housing people of different castes—the highest caste being Brahmins, the lowest, the Pariahs. People were extremely religious-minded. Goddess Kenchamma was the presiding deity of the village. Village Temple – Katha-man Arrested The protagonist of the novel is a young Brahmin boy, named Moorthy. Moorthy was a staunch follower of Mahatma Gandhi. Once this boy found a...
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...publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional, tragic, fatalistic themes · Dangerous knowledge; sublime...
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...moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 823’.0109--dc22 2007052226 ISBN: 978-0-7546-6413-0 Contents Acknowledgements vi Introduction 1 1 Overview: Short Fiction in the Early Nineteenth Century Part I: Criticism, History, and Definitions Part II: Short Fiction in the Periodical Press 5 5 22 2...
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...moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 823’.0109--dc22 2007052226 ISBN: 978-0-7546-6413-0 Contents Acknowledgements vi Introduction 1 1 Overview: Short Fiction in the Early Nineteenth Century Part I: Criticism, History, and Definitions Part II: Short Fiction in the Periodical Press 5 5 22 2...
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...moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 823’.0109--dc22 2007052226 ISBN: 978-0-7546-6413-0 Contents Acknowledgements vi Introduction 1 1 Overview: Short Fiction in the Early Nineteenth Century Part I: Criticism, History, and Definitions Part II: Short Fiction in the Periodical Press 5 5 22 2...
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...Joyce's Araby share many of the same literary traits. The primary focus of the two stories revolves around a young man who is compelled to decipher the different between cruel reality and the fantasies of romance that play in his head. That the man does, indeed, discover the difference is what sets him off into emotional collapse. One of the main similarities between the two stories is the fact that the main character, who is also the protagonist, has built up incredible,yet unrealistic, expectations of women, having focused upon one in particular towards which he places all his unrequited affection. The expectation these men hold when finally "face to face with their object of worship" (Wells, 1993, p. 127) is what sends the final and crushing blow of reality: The rejection they suffer is far too great for them to bear. Updike is famous for taking other author's works and twisting them so that they reflect a more contemporary flavor. While the story remains the same, the climate is singular only to Updike. This is the reason why there are similarities as well as deviations from Joyce's original piece. Plot, theme and detail are three of the most resembling aspects of the two stories over all other literary components; characteristic of both writers' works, each rendition offers its own unique perspective upon the young man's romantic infatuation. Not only are descriptive phrases shared by both stories, but parallels occur with each ending, as well (Doloff 113). What is even more...
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...MODULE 1: INTRODUCTION This module provides an overview on the subject of art appreciation for those entirely new to the subject. This is a complex topic to deal with and it is impossible to have a truly comprehensive discussion on the topic in such a brief essay. The student is advised to consult more advanced texts to gain further understanding of how to appreciate art more fully. HUMANITIES: What is it? • The term Humanities comes from the Latin word, “humanitas” • It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized. HOW IMPORTANT IS HUMANITIES • The fields of knowledge and study falling under humanities are dedicated to the pursuit of discovering and understanding the nature of man. • The humanities deal with man as a being of purpose, of values, loves, hates, ideas and sometimes as seer or prophet with divine inspiration. • The humanities aim at educating. THE ARTS: What is it? • The word “art” usually refers to the so-called “fine arts” (e.g. pictorial, plastic, and building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts) • The word “art” is derived from arti, which denotes craftsmanship, skill, mastery of form, inventiveness. • Art serves as a technical and creative record of human needs and achievements. The word 'art' is often used in our daily lives. However, when...
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...------------------------------------------------- Monomyth From Wikipedia, the free encyclopedia "The Hero's Journey" redirects here. For other uses, see The Hero's Journey (disambiguation). The twelve stages of the hero's journey monomyth following the summary by Christopher Vogler (originally compiled in 1985 as a Disney studio memo): 1. TheOrdinary World, 2. The Call to Adventure, 3. Refusal of the Call, 4. Meeting with the Mentor, 5. Crossing theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad...
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