Euthanasia Essay Example | Topics and Well Written Essays - 1250 words

Euthanasia - Essay Example The American Medical Association embraces the belief that active euthanasia is not acceptable due to the involvement of the intentional ending of a patient’s life by another human being. Many current thinkers have argued for and against this view discussing the moral acceptability of such an action, and some of the most notable arguments come from James Rachels. Rachels states that a strong case can be made against the American Medical Association’s doctrine. His main point is that passive euthanasia is not always preferable to active euthanasia: he states that, in some cases, there is simply no moral disparity linking active euthanasia and passive euthanasia. This is because they both are morally equivalent concerning the ultimate goal; however, it is factual that active euthanasia may be fair compared to passive euthanasia. He says that once the choice has been made not to prolong the patient’s agony, active euthanasia would be preferable because the latter wou ld lead to an unnecessary period of suffering (Dixon 25). His most brilliant example is the instance of the babies with a severe Down’s syndrome who were given birth with obstructions in the intestines. He states that sometimes in such cases the babies are allowed to die even if these matters were considered deeply; thus, we would find compelling moral grounds for preferring active euthanasia to passive euthanasia in the vastly greater degree of suffering involved in letting the baby die. Rachels challenge the doctrine that passive euthanasia is preferable to active euthanasia; he declares that it leads to decisions concerning life and death based on irrelevant grounds as to whether a person’s life should continue or not. He argues that ordinarily an intestinal obstruction can be fixed and is not a life or death matter; but in the case of a baby with Down’s syndrome with an intestinal obstruction, he or she should be allowed to die because of Down syndrome and n ot the intestinal obstruction. The presence of the intestinal obstruction in the baby becomes irrelevant due to its having Down’s syndrome, and this is the argument which justifies allowing the prolonged suffering of the baby before it dies instead of fixing the intestinal obstruction which would relieve it of the pain. This justifies Rachels’ argument against the American Medical Association’s doctrine that this doctrine rests on a distinction between killing and letting die that itself has no moral importance because they both lead to the same end and the means of getting there is inconsequential (Javier 262). Jake objects to Rachels’ argument and justifies his stance stating that active euthanasia is based on a person’s decision of killing a patient intentionally, and this is meant to bring to the end the patient’s suffering. This is hugely different from passive euthanasia, as in this case a patient is left to die in his or her own time and not given any substance that will make them die. According to Jake, therefore, it would be true to say that there is a clear difference between active and passive euthanasia, and that this difference is based on the morality of the two actions. While passive euthanasia can be considered morally right, active euthanasia

The Missing Link Essay Example | Topics and Well Written Essays - 1000 words

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Mr. Palomar and When My Brother Was An Aztec Analysis

Mr. Palomar and When My Brother Was An Aztec Analysis When My Brother Was an Aztec is Natalie Diazs first accumulation of poems. The book is separated into three parts. The first section of the book is committed to catching cultural depictions of Native Americans and their communities, the second segment is about the drug addicted brother, and the third on the pity and agony that goes with reservation life. On the other hand, Italo Calvinos Mr. Palomar is a novel that comprises a series of short chapters, each in sets of three, which explores Mr. Palomars universe. The text is broken into three individual sections. They are Palomars Vacation, Palomar In the City and The Silences of Palomar. This novel presents the story of a man who cannot move past his self-made boundaries. It depends on things that our principle character, the middle-aged Mr. Palomar, sees and ponders. This paper will examine the way both the author Natalie Diaz and Italo Calvino uses the scene and overall importance of the scene in text. Also, it will scrutinize simi lar or different approaches taken by the authors to scene and how do these approaches impact the result. Poems in the first section of Diaz most specifically address Native American experience and the first section of Mr. Palomar addresses visual experiences. The first section of the book is committed to catching social previews of Native Americans and their groups. There are some poems that juxtapose glimpses of those communities against standard culture, as with Cloud Watching and If Eve Side-Stealer and Mary Busted-Chest Ruled the World, these and others make a study of the devastated conditions that numerous Native Americans are compelled to live in and around reservations. The outright highlight of the section is The Last Mojave Indian Barbie. The gently hidden scrutinize of standard cultures misleading position toward Native Americans is made entertaining in light of the fact that it is wrapped in the transparent appearance of the tremendously censured doll Barbie. The piece is flippant and shocking, which makes the demonstrations of the youngsters toys all more amusing. On the ot her hand, the reader is acquainted with Mr. Palomar as he endeavors to think about the way of one wave through direct perception. Calvino, in third person, points of interest wonderfully the trouble of doing as such, as the wave itself raises and falls, shifts shapes and dimensions, is converged with different waves, parts from itself and changes, and at last dies along the beach. In Mr. Palomar, Calvino tells us, is trusting that in achieving a reply with regards to the structure of a single waves nature, its development and decimation, he will discover a similarity to the reply with regards to the topic of the piece of the universes nature. He neglects to do as such, is flopped even to diminish his nervousness in endeavoring to do as such, and proceeds onward. The following story being one of endeavoring to accomplish the fitting concordance of detachedness and mindfulness as to a topless sunbather to pass on regard for tradition and regard for her femininity, with the aftereffect of being perceived as a pervert. Poems in the second section of Diaz represents another sort of experience and the second section of Mr. Palomar shows components that are anthropological, or cultural in the expansive sense. The reader finds that the second segment takes a more genuine thoughtfulness and altogether refocuses on the brothers character. His crazy drug addicted behavior is expertly caught in My Bother at 3am.. Using non-particular solid subtle elements, Diaz transports the reader to the scene for observing the Brothers hallucination of the devil, feel the siblings fear, and feel his moms despondency. It is one of the best poems in the collection. The section finishes up with a formal internment of the sibling in No More Cake Here. The poem utilizes sound and imagery to catch the sisters help and blame at being remembered at her brothers death. Toward the end, the reader is made uncertain as the sibling returns and tells the sister/narrator that he is not dead. Now, the reader may assume that the brother is a signifier for the wrongs of a modern culture and that the sister infers present day society unnecessarily depleted and too much occupied, making it difficult to oversee troublesome issues. On the other hand, Palomar in his garden attempting to comprehend a blackbirds whistle and Palomar microscopically looking at the infinity of his lawn; Palomar watching the moon and the planets and the stars (Mr. Palomar Book Review Summary). Palomar getting another point of view on his city from his patio and considering the mass whirling of starlings. Palomar wondering about every one of the assortments of cheeses in a cheese specialists and ending up purchasing a simple cheese bothered as he is called to make his request. Palomar also at the zoo contrasting himself with a giraffe (Mr. Palomar Book Review Summary). The poem of Diaz and the novel of Calvino provides new experiences from different aspects. The reader finds the poems of When My Brother Was an Aztec are expertly made utilizing imagery, sound, and frame to catch their individual subjects in striking conduct. Likewise, the book functions as a whole. It works as a scrutinize of the issues of poverty and drug addictions confronting standard and Native American society. Diaz is completely fruitful with this, her first collection. Diaz tries different things with structure in a large number of her poems to demonstrate how the association of a poem is just as important as its content. When My Brother Was an Aztec takes after a stair-step example to demonstrate that as Diaz and her family take after her brother more distant and further down his dangerous way, there is no real way to return. On the other hand, Mr. Palomar watches and considers questions as various as blackbirds, the sky, a cheddar shop, and the naked bosom of a sunbather. A t least twice, be that as it may, Mr. Palomar finds the tables turned on him, turning into the watched instead of the observer (Mr. Palomar Characters). At the end of the novel, Mr. Palomars absence of authoritative self-knowledge gets to be distinctly prominent, however then, as the creator proposes, a telescope is most likely not the best instrument for seeing oneself. Finally, it can be said that In When My Brother Was an Aztec, Natalie Diaz looks at memorys part in human identity. Every poem is layered with different pictures and feelings exhibiting the tumult that imbues familial connections, especially those clashed by social conflicts and drug addiction. On the other hand, Italo Calvinos Mr. Palomar is a novel, yet in another sense, it is just about a philosophy book, beautiful all things considered as it brags no answers, rather it is basically a series of perceptions and inquiries with respect to them. By this way, both the authors were successful to express what they wanted to say in different form of writings. Works Cited Calvino, Italo. Mr. Palomar. San Diego: Harcourt Brace Jovanovich, 1985. Print. Diaz, Natalie. When My Brother Was an Aztec. Port Townsend, WA: Copper Canyon, 2012.Print. Mr. Palomar Book Review Summary. Detailed Review Summary of Mr. Palomar by Italo Calvino. N.p., n.d. Web. 12 Dec. 2016. Mr. Palomar Characters ENotes.com. Enotes.com. Enotes.com, n.d. Web. 12 Dec. 2016.

My Philosophy of Education Essay -- Teaching Philosophy Education Essa

My Philosophy of Education A child’s education is one of the most important, if not the most important, aspects of his or her life. With this in mind, teachers are very influential characters. Therefore it is essential that teachers develop their educational philosophy and their educational goals before making the big step from being a student to being a teacher. I would now like to present my educational philosophy and goals. I will do this by combining the thoughts of Rousseau, Plato/Socrates, Sophistry/Foucault, Pragmatism/Progressivism and interpreting and creating it into my own. First, I would like to share my thoughts on the nature of human beings. I agree with Plato and Socrates in the sense that most human beings (students) are not alike and are therefore sorted into groups. I do not believe, however, that it is my right or responsibility to sort students into my own defined groups. This proves to be unfair and provides no sense of autonomy to the students. In today’s society, mainly the students do the sorting process, themselves, into what we know as â€Å"peer groups†. This is why I also agree with the Pragmatists and Progressivists’ view in which they believe that human beings are social as well as experiencing, exploring, and thinking individuals. In addition, I feel that students are innocent with a capacity for good or evil and the environment determines their direction, as does Rousseau. Unfortunately, the environments surrounding children today are not always conductive for learning; therefore, I want to present m y classroom as a safe, positive, and conductive atmosphere. Next, I want to examine the nature of knowledge. I strongly agree with Rousseau’s view of knowledge. I... ...the classroom and to begin building upon my teaching experience. I do not plan to stop there; I plan to further my education every chance that I get by taking more classes, going to seminars, and so on. I feel that a good teacher is one that never stops learning; one’s education is never ending. However, I have a strong feeling that I will learn so much more once I become part of a classroom filled with little ones awaiting my every word and watching my every move. Yes, teaching is a heavy responsibility and should not be taken lightly; but I am ready. In conclusion, I cannot choose one philosopher that I agree with 100%. But I do think highly of Rousseau’s philosophy of education. Furthermore, with a strong education foundation, I feel that I will be able to attain my goals as a teacher through that of the various philosophies presented in this paper.

The Meaning of Family Photographs

The Meaning of Family Photographs By Charles Williams |[pic] | |Vanek family members dance. | The family is on vacation. A father takes out his point-and-shootcamera, poses his wife and kids and takes a quick snapshot. Eventually, the photograph is filed away in the family photo album. Ameaningless activity? Maybe not. Everyday, thousands of familyphotographs are taken with little regard for the meaning of therecorded image. Much attention has been paid to scholars' views ofdomestic life.However, relatively little attention has been paid tocultural productions, such as photo albums, that have been generatedby families themselves (Trend, 1992). By neglecting discussion onthis subject, scholars indicate that the home is not a place ofserious academic work (Trend, 1992). But researchers increasingly arestudying the meaning behind the photographs. April Saul won firstplace in the Feature Picture Story category at the 1992 Pictures ofthe Year competition for her portrayal of the American family. Shebelieved that family struggles were an important topic of journalism. I hope what it [winning] means is that the everyday struggles of anAmerican family are as valid in their own way as the struggles goingon in Azerbajian or Sarajevo — and that the private wars next doorcan be as compelling as the bloody, public ones thousands of milesaway. † Family photographs can be considered cultural artifacts becausethey document the events that shape families' lives. Thus, therecording of family history becomes an important endeavor. In manycases, photographs are the only biographical material people leavebehind after they die (Boerdam, Martinius, 1980).But, the impact offamily photo albums extends beyond merely recording history. Interpretation of family structures, relationships and self ispossible through viewing family photographs. The Meaning of family photographs Interpretation of meaning behind photographs assumes that they are ameans of communication (Entin, 19 79). Family photographs can tell astory. One photograph can be a mini-slice of an occurrence, but theaccumulation of pictures begins to reveal threads of consistent themesand patterns. For all practical purposes, they become an informalphoto essay.Much like family storytelling, photographs indicaterelationships within and among the family. Indeed, the family photoalbum is an easy way to initiate outsiders to family history (Boerdam,Martinius, 1980). Photographs provide an easy topic of conversationallowing potential family members, such as boyfriends or girlfriends,to be initiated into family structures and tradition. A key principleto consider when interpreting photographs is that they are produced bychoice. Choices about who, what, when and where to photograph can sayas much about the photographer as the subject.The camera does notsimply record an event but also records what the photographer choosesto see. Photographs are a statement about one's perception of theworld. They are a reflection and definition of self. If that personhas a happy family, then others may perceive him to be a good husbandor wife. Parents' innocent snapshots are important in constructingtheir sense of identity (Merz, 1988). Traditionally, photographs havebeen taken from a male perspective. The father is most often absentfrom family photographs because he is the one who usually commandsauthority, poses the family and takes the picture (Trend, 1992).The family photographer isn't the only one who has authority to shape thefamily image. Other people may edit the photos. Some photographs areselected for presentation in an album while others are rejected. Control of the editorial process can be as important as control overproduction of the photographs. Decisions regarding what to keep,throw away and display can provide valuable information about theperson assembling the album. History of Family Portraiture Portraits of family members originally were produced by earlypainters.Prior to the Tw entieth century, family portraits were astatement of power and profession. Paintings were expensive and timeconsuming to produce, thereby limiting subject matter to heads ofstate, military leaders, royalty or other members of the ruling class. When the daguerreotype was prominent (1840-1860), early inventors andphotographers were well respected and belonged to the social elite. When the process was cheaper, people began going to photographicstudios, usually during special occasions such as weddings where aserious, dignified atmosphere was observed.The well-respected natureof photography, elegant studio furnishings and the knowledge that apermanent image was being created, caused the atmosphere to be tenseand the portraits to appear rigid (Boerdam, Martinius, 1980). Becausefilm speeds were relatively slow, long exposures were necessary whichrequired subjects to remain stationary for long periods of time. However, in the later half of the Nineteenth century, impressionistpainters such as Vincent Van Gogh changed the manner in which manypeople constructed family portraits.His paintings were of commonpeople in common situations causing a shift from formal to informalportraiture (Halle, 1991). Similar changes began to occur in thephotographic medium during the early Twentieth century. Streetphotographers began operating around family tourist attractions. Atthe time, few people owned a camera so it wasn't unusual to have thefamily's picture taken at the beach by such photographers. As aresult, the clothing and poses became more relaxed and informal andthe backgrounds became more significant. These types of photos wereforerunners to the casual present-day family photograph.By the 1920sand 1930s, photo albums included both formal studio portraiture andcarefree vacation shots (Boerdam, Martinius, 1980). Advances intechnology increased the ability of the average person to produceinformal vacation pictures. George Eastman had introduced the firstKodak camera in 1885. â⠂¬Å"You press the button, we do the rest,† was thecompany's motto. Improvements continued, including introduction ofthe 35mm Leica in 1924 as well as technical advances such as smallercameras, faster films and flash. The scope of possible shootinglocations was increased with the invention of the flash.Indoorphotography, where much of personal life is conducted, fell within therealm of the amateur photographer. Technical capabilities beganproviding intimate access to the home. Changes in technologyparalleled changes in behavior. As more people owned cameras andbecame familiar with their workings, the photographic process becameless intimidating, and the proliferation of the equipment beganchanging the content of the photographs (Boerdam, Martinius, 1980). In addition, people simply became accustomed to being photographed. This in turn produced more casual situations, hence more causalsubjects.In early photographs, the subjects were often posed, muchlike they had been for painte rs. The beach photographers offered amore relaxed style, but they too had the subjects stare straight intothe camera. A new kind of snapshot eventually would emerge that nowdominates photo albums. It shows a group of people engaged in someongoing activity, not necessarily looking at the camera. A downsidedoes exist to the proliferation of simple cameras. When they becameinexpensive and easy to use, they flourished in American society. However, trade-offs were inevitable.The lack of need for technicalexpertise was counterbalanced by a lack of creative control. Point-and-shoot cameras are equipped with fixed-focus lenses andpre-set apertures ensuring that medium range shots are the norm(Trend, 1992). Photography has become easier and thus more popular. Everyone has the potential to take good family photographs especiallysince the introduction of color-negative film which allows moreexposure latitude. The subsequent rise in the number of photos takenconfirms this fact. In the Netherlan ds in 1960, the number of colorphotographs taken was 600,000.In 1974, it was 103 million (Boerdam,Martinius, 1980). The easier-to-use cameras likely have acceleratedthe use of cameras by women to photograph their children. So eventhough the number of formal, solemn occasions is decreasing, thenumber of photographs is drastically increasing. Photographicrepresentation was possible as early as 1840. Yet society wasunprepared for such a revelation. An unplanned social processdeveloped that established which aspects of community life it wasappropriate to photograph (Boerdam, Martinius, 1980). As a result,communities established norms that continue to have an effect onsubject matter.Relationships between family members and amongrelatives are less formal and less controlled by religious and otherinstitutions outside of the family than in previous generations. Theinfluence of the church has diminished in some communities; therefore,ceremonies such as baptisms are less essential sources of familyrecord keeping. (Boerdam, Martinius, 1980). Although most occasionscan be photographed from a technical standpoint, social and ethicallimitations on subject matter remain. Arguments, fights, sickness,death and sex are rarely documented photographically. This hasn'talways been the case.Dead children were photographed during thenineteenth century, sometimes lying in a cradle and sometimes beingheld in their mother's arms. In Austria, so many people went to photostudios with dead children that a public health threat was declaredand the government prohibited the practice (Boerdam, Martinius, 1980). Very few of these photographs exist today. It is likely that as theywere passed down in subsequent generations, and viewed as being inpoor taste and destroyed. Some researchers even believe that sexphotographs are becoming less taboo (Boerdam, Martinius, 1980).Inany case, family albums are rarely a true and accurate depiction ofthe family. Objectivity always remains questionable. The id ealized nuclear family – Say â€Å"cheese† â€Å"It's only smiles that count in photographs,† states Laurie Taylor inher humorous view of the family photo album. She wonders if the blankstares in a photograph are a testament to the blissful beginning of anaffair, or evidence of its traumatic final days? Photographs offamily members often are constructed with a skewed concept of reality. They usually depict an idealized nuclear family, meaning a husband,wife and children, enjoying pleasurable moments.In her book â€Å"FamilySnaps: The Meanings of Domestic Photography,† Patricia Holland says†The compulsive smiles in the snapshots of today insist on theexclusive claim of the family group to provide satisfying and enduringrelationships, just as the calm dignity of earlier pictures emphasizedthe formality of family ties. † The obsession with depicting thefamily as a united, happy entity is clear. In a study conducted byHalle, no head of the househo ld's divorced spouse appeared in any ofthe pictures, and very few photographs depicted people as unhappy orlonely. The message is loud and clear.Heterosexual marriage andchildren produce a fun and satisfying life. By far, most of thephotos showed the family at leisure, especially on overseas vacations. Formal pictures including those of people in business suits, militaryuniforms or wedding attire did exist, but only accounted for thirtypercent or less of the displayed photographs (Merz, 1988). Likewise,occasions in which a nuclear family would participate are depicted asfun. During the early 1960s, French sociologist Pierre Bourdieupublished a series of photographic essays that he titled Un art moyen.Bourdieu wondered why so many people wanted cameras and why thepractice of photography was so widespread. He believed it was morethan just a natural occurrence. Bourdieu concluded that similaritiesexist within family photographs. In a French market survey heconducted from 1962 to 1963, he concluded that more than two-thirds ofthe amateur photographers he interviewed take their photographs almostexclusively at predictable moments. They photographed particularlyat ceremonies, meetings and holidays (Boerdam, Martinius, 1980). Seldom are the photos a complete and accurate depiction of reality.Family image, not family history is depicted in the photographs thatare displayed. Major events that strongly influence peoples' livesare completely ignored. One of the most obvious situations that ismissing from the family album is work or anything to do with work(Merz, 1988). This is tragic because labor-related relationships andachievements form a substantial part of peoples' lives. Alsoconspicuously missing are photographs of dead children. Death andwork seem to be taboo subjects in most photo albums. Displaying photographs in the homeCelebration rituals such as weddings or Christenings are recorded;divorces and funerals are not (Merz, 1988). Even within theserituals, the emp hasis remains on the family. A study found thatalmost all the photographs displayed in households were of familymembers (Halle, 1991). Very few photos of friends, colleagues andstrangers were present. Friends were seen in wedding photos, but theevent depicts the joyous creation of a nuclear family. The number offamily photographs that are displayed in households is surprising. Inone study, almost all households were found to display photographs(Halle, 1991).As expected, the number of photos in a household wasgreater if the occupant had children or grandchildren. Although thiswasn't surprising, other factors such as gender were found to have aninfluence on decoration of the home. It was unusual that fewerphotographs were found in homes where the head of the household was amale who held an artistic job such as photographer, architect or filmmaker than for women in similar occupations. The discrepancy may haveresulted because women were more interested in the social aspects ofthe photo graph as opposed to the aesthetic aspects (Halle, 1991).Physical groupings also are important. Most family photographs aredisplayed in clusters. In one study, eighty-nine percent of familyphotographs were displayed in groups of four or more (Halle, 1991). Pictures are huddled together even if the people in them are not. People are very seldom presented alone. It is very rare to find aphoto of one person displayed by itself, especially when that personis an adult resident of the house. This occurred in less than onehalf of one percent of the households that were tested (Halle, 1991).Children are often depicted alone, but they are too young to beexpected to maintain meaningful relationships. Those that aremeaningful are subject to transition. Today's high divorce rate castsa shadow over the nuclear family. Thus, the method of displayingphotographs may signify the instability of modern-day relationships. Most pictures are likely to stand free on tables, dressers, mantles orother flat s urfaces as opposed to walls. Only about a third of familyphotographs hang on walls. Photos that are not hung on walls are moreeasily interchanged and regrouped. Social StructureFundamental changes to American society and the family structure maybe hampering the production of ancestral photography (Halle, 1991). The ties that once bound children to their parents are no longerpresent. Nursing homes, social security and pension plans haverelieved the youth from supporting their parents. Older people havebeen moving south to retirement communities, sometimes away from theirfamilies, so they can enjoy the warm weather. The manner in whichchildren relate to their parents has changed over the past fiftyyears, and the changing relationships may be reflected though thedisplay of photographs.Between 42 and 62 percent of households in onestudy displayed pictures of at least one parent. (Halle, 1991). Thenumbers quickly decreased as further generations were explored. Aboutten percent of househo lds displayed a picture of at least onegrandparent, and about three percent displayed a picture of greatgrandparents. Of course, it is possible that the families may haveowned pictures but simply did not display them. Social class appearsto be a factor in the display of photographs. Differences wereobserved between albums produced by middle-class families and familiesof lower income or working classes.People with middle-classlifestyles had higher proportions of photographs of mutual friends andfriends of their children than working-class families (Gardner, 1991). Presumably due to increased social ties associated with more socialprominence. Working-class family albums included more pictures of thehusband's friends than the wife's. Segregated friendship patterns arecommonly found among working-class couples where the male is in chargeof the household (Gardner, 1991). Working-class families' albums wereless kin oriented, but they see each other more often causinginteraction to become more routine.As an event becomes common, it isless likely to be photographed. In addition to social classdifferences, cultural differences may be a factor in the display ofphotographs. Only one in 105 households that were included in asample displayed a school photograph of a child together withclassmates (Halle, 1991). The home was occupied by a Japanese couple. Japanese society tends to be more collective than American society. Role Behavior An examination of photo albums was made to determine if differencesoccurred in the portrayal of people as they assumed the role ofparents (Titus, 1976).Repetitive patterns in the parenting role canbe observed through photographs including feeding, holding the childand interactions with relatives. Albums were examined to determine ifthe photographs of parents after they had their first child weredifferent than those after they had subsequent children. It wasassumed that parents would become accustomed to many of the rolechanges, and the subsequ ent photographs would reflect these changes. Photographs of mothers caring for their first child were far moreprevalent than with subsequent children (Titus, 1976).The same wastrue of fathers. The number of solo portraits also decreased afterthe first child although this may not constitute a difference inaffection toward the first born, but simply an accustomization to newroles (Titus, 1976). Both the parents and the newborn child mustlearn new behavior. Parents may not have to re-learn their behaviorwith subsequent children. Even though one spouse may be more inclinedto take photographs, both spouses were significantly represented inparenting photographs (Titus, 1976).However, most photographs werepredominately of pleasant tasks such as holding and feeding. While itmay have been necessary to hold children in order to present them tothe camera, this wouldn't have been the case when feeding. Picturesof parents feeding children were far more likely to occur with thefirst child. Very f ew photos of unpleasant tasks such as diaperingand bathing were included in the albums. Therapeutic uses of family photographs Photographs can prove to be an invaluable source of information whenresolving personal problems.Photographs are not subject to memoryrecollection, and a person's portrayal of events can be quitedifferent from what appears in the photographs (Kaslow, 1979). Theinformation is intimate because family photographs are collected fromthe inside compared with journalistic institutions, which usuallyoperate as outsiders (Titus, 1976). Photo albums and home moviesprovide the richest sources of memories about the family (Entin,1979). They offer an intimate look at personal relationships. Psychologists recently have begun using this display of intimacy tohelp resolve family conflicts.Photographs have the power to conjureup memories, sometimes painful, of bygone years. However, the reasonthat many people take photographs is to preserve happy memories. Whena relationship sours, the photographs that intentionally focus onhappy moments merely exacerbate the situation. It becomes painful toview all the â€Å"good times† without reference to the bad. Familyphotographs now are being used as a means of therapy to discuss thesechanges in lifestyles. The technique, often referred to asphototherapy, is effective because people from all socioeconomicgroups possess photos that can be discussed.A review of familyphotographs can often prompt people to talk about family stories,goals, events and history. Not only does phototherapy help peopledeal with issues of the past, but it also helps renew relationships inthe present (Entin, 1979). The mere presentation of photographs canreveal much about the organization, chaos or fragmentation of aperson's life. If people's photo albums are disorganized andpartially complete, so too may be the case with their lives. Bygathering significant photos, patients often realize that pieces oftheir scrapbook are missing, pro mpting long overdue visits home.Sometherapists are using family photo reconnaissance as a means of dealingwith sexual problems (Kaslow, 1979). Desires toward spouses can beinhibited if deaths of parents, children or loved ones are not fullymourned. Kaslow has found that couples with sexual problems oftenhave a resurgence in desire after reviewing their wedding album. Problems such as female frigidity are sometimes traced back to earlyphotographs of women patients. Many times they appear â€Å"sparklingclean, perfectly groomed and standing prim and proper† (Kaslow, 1979).The way people feel about their bodies can be witnessed inphotographs. Baggy clothes could indicate a puritanical attitude orshame of the body leading to frigidity, impotence or infrequent sexualdesire (Kaslow, 1979). Body positioning such as slumping may indicatedepression just as an upright position could indicate confidence. Thesize and prominence of family members' portraits can indicateattitudes, such as favoritism, toward those portrayed (Entin, 1979). Presentation in inappropriate locations such as the bedroom may evencause sexual inhibition.The storytelling nature of albums allowpsychologists to study patterns of photography to determine if changesin attitudes may be occurring. If a second child is photographedsignificantly more than the firstborn, psychologists may question thefamilies' expectations concerning sex or attractiveness of the firstborn and whether problems such as illegitimacy, handicap ordisfigurement may play a role (Entin, 1979). In her book â€Å"WaucomaTwilight: Generations of the Farm,† Dona Schwartz describes the mannerin which her photographs provided a context during her interviews.The photographs showed details of everyday life and the context inwhich events occurred in the community. The insight gained throughher own fieldwork and subjects' responses to pictures was morevaluable than the actual content of the photographs (Schwartz, 1992). She compa red her interview process with Christopher Musello'sdescription of â€Å"family viewing contexts. † Musello believes familydiscussion of photographs establishes a â€Å"verbal context delineatingwhat should be attended to and what significances are located in theimage,† (Musello, 1980).Conclusions By viewing family photographs, much can be discovered about familystructures, relationships, and the self. Family photographs primarilyserve to remind people of good times with loved ones. This isapparent as the image of the nuclear family is constantly repeated inthe photo albums of most families. Much research remains to be done inthe study of family photographs. Even though American society isobsessed with presenting the image of a happy nuclear family, moreresearch should be conducted on the portrayal of alternativelifestyles.Gay and lesbian couples, alternative families and singleparents need to have their family photographs analyzed to determine ifdiffering lifestyles s ignificantly affect photo content. Also, photocontent produced during transitions in relationships such as divorces,separations and sibling rivalries needs to be studied. Additionally,content analysis of both American and foreign albums needs to beconducted to determine the degree to which cultural differences affectcontent. And finally, additional studies on the factors that affectediting decisions need to be conducted.The literature review producedmuch information on the benefits of photographic analysis topsychologists. However, there was little information on the manner inwhich other professionals, such as journalists, could use theinterpretive meaning of photographs. Historical documents, such asfamily photographs, can provide essential background information aswell as indicate important people and relationships within a story. Through my research component, I intend to discover the manner inwhich journalists use historical documents to provide story context. Because online new spapers ave the capability to provide greatercontext due to the potential inclusion of sound and video, I also planto investigate the way emerging technologies might affect presentationof contextual information. [pic] References Boerdam, Jaap and Warna Oosterbaan Martinius. (Oct, 1980). â€Å"Family Photographs – A Sociological Approach,† The Netherlands Journal of Sociology, v16, n2, pp. 95-119. Gardner, Saundra. (May, 1991). â€Å"Exploring the Family Album: Social Class Differences in Images of Family Life,† Sociological Inquiry, v61, n2, pp. 242-251. Halle, David. Summer, 1991). â€Å"Displaying the Dream: The Visual Presentation of Family and Self in the Modern American Household,† Journal of Comparative Family Studies, 22: pp. 217-229. Kaslow, Florence. (Summer, 1979). â€Å"What Personal Photos Reveal About Marital Sex Conflicts,† Journal of Sex and Marital Therapy, 5: pp. 134-141. Merz, Caroline. (August, 1988). â€Å"Smile, please,† New Statesman & Society, v1, n10, p. 42. Musello, Christopher. (1980). â€Å"Studying the Home Mode: An exploration of Family Photography and Visual Communication,† Studies in Visual Communication, v6, n1, pp. 3-42. Saul, April. (August, 1992). â€Å"Compelling stories of ‘private wars next door',† News Photographer, p. 45. Schwartz, Dona. (1992). â€Å"Waucoma Twilight: Generations of the Farm,† Washington: Smithsonian Institution Press. Taylor, Laurie. (August, 1993). â€Å"Camera Obscura,† New Statesman & Society, v6:p. 21. Titus, Sandra L. (August, 1976). â€Å"Family Photographs and Transition to Parenthood,† Journal of Marriage and the Family, 38: 525-530. Trend, David. (Feb, 1992). â€Å"Look who's talking: Narratives of Family Representations,† Afterimage, v19, n7, p. 8.

The Insider Essay

The Insider Ethics in the Capital Society Jeong Pyo Son 09/17/2012 Business Ethics Johns Hopkins University The Insider: Essay The Insider is a great example of the whistle blowing problem and way for us to discuss right – versus – right ethics. I would like to analyze the essay focusing on the two main characters and how they made their decisions when they are standing at their turning points. The main two characters are Jeffrey Wigand who is the whistle blower of Brown Williamson Corporation, and Rowell Bergman, who is a TV producer of the show 60 Minutes, who sets up an interview with Wigand, in the film.In the movie, I think both characters are facing defining moments. For Jeffrey, one right is consistent with his role as an honorable scientist who knows the misconduct his company is involved with; and the other is in his role as an executive member in his company who is obliged to keep confidentiality. His actions could impact a large number of stakeholders. Blowin g the whistle could have a serious impact on the company’s brand image. It would also affect competing companies since the problem involves the entire tobacco industry.Bergman is also frustrated because he is supposed to disclose the interview to the public as a producer but at the same time he is opposed by CBS, for the interview poses a high potential financial risk for the company. If CBS airs the film it could be liable for â€Å"tortuous interference† and be sued by Brown and Williamson. Eventually Wigand and Bergman both decide to become whistle blowers. So what factors would have made them make these decisions? The most difficult factor for Jeffrey making his decision is probably choosing between his personal/professional rights and duties.Personally he has a family to sustain. He has a mortgage to pay-off and has a sick daughter who needs expensive medical treatments. It was affordable for him to solve these problems while he was still working for Brown William son. He knows that by choosing to side with the press, revealing the dirty truth about his firm, his family’s safety would be put at stake. This is one of the major reasons why whistle blowing is particularly difficult for him. If he were alone, he would just have to worry about himself, but in this case he has to take responsible of his family.According to Sissela Bok(1980), although one is expected to show more loyalty to one’s country and for the public rather than other individuals or organizations, people are still afraid of losing their careers and the capability to support households. Emotionally, people want to dissent over wrongdoings, but they cannot do it rationally. It was as difficult for Bergman as Wigand to make his decision, but he only had his career at risk. His personal and professional values are centered on being an honest, straight forward journalist.These values conflict with his duties as an employee working for CBS, which might face a huge law suit if it airs the interview with Wigand that he has arranged. His whistle blowing was easier because he valued his career and his virtuous character more highly than his responsibilities to CBS, and he saw his character being destroyed in front of him by his company. People hold different values and reason about them in different ways. How did Wigand and Bergman think in philosophical terms we have learned in class?From a Utilitarian perspective, Wigand basically made the right choice. In the Utilitarian way of thinking, he needed to make decisions that could maximize the satisfaction, or happiness, or benefits for the largest number of stakeholders. (Hartman & DesJardins, 2011). In that case, his actions could be regarded as a success since he let the public know the truth and the benefit to the public would be greater than that to the company if he were not to disclose the inside information. It is the same for Bergman in making his decision.Insisting on airing the interview mig ht cause trouble for CBS, and certainly would damage the reputation of Brown and Williamson and the tobacco industry but along with Wigand he chose to reveal the truth to the world. Does the deontological way of thinking apply to Wigand’s decision? Deontology is a matter of principle. Legally thinking, Wigand broke the law for not keeping the confidentiality of his company. Even if the information he held was lethal to the public, a law is still a law and it is a principle promised in the society. It is mentioned n the textbook that the Deontological way of thinking creates duties for the person to follow. (Hartman & DesJardins, 2011) But Wigand not only has a duty as an executive who is banned from opening his mouth; he also has a duty as a father and as a scientist. His role in his family as a father is to maintain a secure household. Facing the company would leave his family in danger. Also his duty and principle as a scientist collides with his role as an employee in his company. It was one of the reasons he got fired from his company too.In this Deontological way of thinking, Bergman did not really have to have inner conflicts as Wigand because he did not break any important ethical principles. Although, he would have felt guilty for leaking information to another press, he still maintained his principle as a journalist to publish the facts out in the public. Also he did not have major damages for his family too. His wife is working in the same industry and would have understood him for his decisions. So did Wigand value his personal integrity more than his family and loyalty to his company?Can we say he is a good person and made the right decision? According to Kidder(1995), kind people make tough decisions too. Although their values are clearly defined, it is difficult for people to find the right thing to do. There is a good example introduced in the article of Kidder. A manager is taking charge of a broadcasting filming scene taken at his compa ny parking lot. After the film shooting was over, the film director tried to credit the manager for helping them borrow the location. The manager now is facing a decision making situation whether he should receive credits on behalf of the company or not.Kidder(1995) said, â€Å"For him, it was hardly that simple because of his core values of honesty, integrity, and fairness, and his desire to avoid even the appearance of evil. All in all, he felt that there was some right on both sides, which it was right for him to be compensated. †This explains that even when someone has a strong self integrated value; it is still tough for him or her to make ethical decisions. This also applies to Wigand and Bergman. Joseph Bardaracco(1997) made a term â€Å"Defining Moments† to illustrate the choice of right-versus-right problem. There are 3 characteristics of Defining Moments which are Reveal, Test, and Shape.Bardaracco(1997) said, â€Å"Right-versus-right decision can reveal a m anager’s basic values and, in some cases, those of an organization. At the same time, the decision tests the strength of the commitments that a person or an organization has made. Finally, the decision casts a shadow forward and shapes the character of the person or the organization. † So how did Wigand and Bergman decide their defining moments for the decision? Wigand was a person of honesty; however he was forced to keep the secret from his company. His family wanted to keep the secret and live safely.But after he and his family got threatened by Brown and Williamson, he decides to step out to the public. He thought Bergman and the press were on his side, so he got his courage to take action. This was Wigand’s defining moment and after it was finished, he needed some time to shape himself because his whole family had left him. After the defining moment passed, Wigand became a truthful and honest scientist as he wished to be from the beginning. In case of Bergma n, we could say that he already shaped his character relating this issue since the beginning of the movie. He was a professional journalist with integrated value of honesty.Unlike Wigand, he did not have much inner conflicts about making his decision. He argued with the CBS board members and revealed the interview to other presses and he was not as serious as Wigand making his decision. His priority was airing the interview and he had to make it happen as an honest journalist. In conclusion, I was very interested to discuss about this subject with this movie because I was grown in a family associated with the press. Both of my parents are journalists and I have seen them discuss about this subject once in a while. I thought that I should ask them when their defining moments were next time I meet them.It also made me think when my defining moments were and how they shaped my character. As Pinker(2008) questioned in his article about the Universal Morality, everyone’s moral val ue is different after our stirrings of morality emerge early in childhood. We all make decisions in our own life with our principle and value that has been shaped by defining moments. It is time for me to think what my true values are in my life. References Badaracco, J. (1997) Defining moments, when managers must choose between right and right. (pp. 5-24). Harvard Business Press. Bok, S. (1980). Whistleblowing and professional responsibility.In Donaldson, T. , & Werhane, P. H. (2008). Ethical issues in business, a philosophical approach. (8 ed. , p. 128,131). New Jersey: Prentice Hall. Hartman, L. P. , & DesJardins, J. (2011). Business ethics: Decision making for personal integrity and social responsibility. (2 ed. , pp. 109-110). New York, NY: McGraw-Hll. Kidder, R. (1995). How good people make tough choices. (1st ed. , pp. 24-25). New York, NY: Fireside. Kidder, R. (1995). How good people make tough choices. (1st ed. , pp. 26). New York, NY: Fireside. Pinker, S. (2008, 01 13). Th e moral instinct. The New York Times. Retrieved from http://www. nytimes. com