Behavioural Perspective of leadership Essay Example | Topics and Well Written Essays - 1000 words

Behavioural Perspective of leadership - Essay Example A majority of such leadership theories have focused on the study of characteristics of the leaders and the manner in which they behave. The impact of leadership behavior on organizational performance has been studied extensively since the past four decades, by practitioners and academics alike (Cannella and Rowe, 1995; Giambatista, 2004). This is mainly because of the widespread belief, that the leadership behavior displayed by the leaders in organizations is regarded, by some researchers as crucial to achievement of organizational goals and in motivating the employees to enhance productivity (Berson et al., 2001; Zacharatos et al., 2000). The behavioral leadership theory evolved during the Second World War, focuses mainly on the human relationships along with, organizational performance and productivity. This theory proposed that the behavior of the leaders has a significant influence on organizational performance and the effectiveness of the workers. Two most important studies with regard to leadership behavior include the study conducted at Ohio State University and the University of Michigan during the 1940s and 1950s. These studies highlighted two distinct categories of leadership behavior based on their individual leadership styles namely: the people-oriented leadership behavior and the task-oriented leadership behavior (Leadership in Organizational Settings, Pp. 287). The former category / cluster focuses on the employee tasks and the methods used to achieve the same, while the latter, focuses on the personal needs and requirements of the employees / workers, and the need for enhancing their interpersonal relationships. The people centered leadership style emphasizes on the people by listening to the suggestions of the employees, grant them personal favors, support them whenever needed and treat them with equality while the task oriented

Brazilian Racial Politics Essay Example for Free

Brazilian Racial Politics Essay The reading provided, extracted from Orpheus and Power by Michael George Hanchard, critiques the Race vs. Class Paradigm that is widespread in the Brazilian society. By weaving together some works of the more renowned analysts and sociologists of the topic, he highlights two main things: firstly, the salient points of their claims and secondly, the faults in their arguments. By comparing and contrasting two schools of thought on the issue, Class-based and Structuralist, he points out certain weaknesses and the glaring irreconcilability of such thought when applied to the trends in Brazilian economic society. The subject of Race and Class and their contributions into creating a society wherein oppression has been structured into policy has fueled many debates, much of them still ongoing. While there has not been any theoretical consensus reached, a characteristic that is always attendant in the field of academia, there is however, a fortunate by-product in that it has broadened the body of current knowledge to embrace other topics into the discussion such as modes of production and social inequality. It is also interesting to note that the post-World War II era, as represented by the works of Oliver Cox and Stanley Greenberg, show the minimum agreement between scholars that race, at the very least, plays cuts an integral figure in structuring the oppressive social inequality. This makes for a broader, richer and more interesting scholarly debate. Hanchard begins the comparison with a discussion on Economic Determinism and the study of the Negro population in Brazilian society through the written work of one Florestan Fernandes, Democracia Racial. Fernandes describes the relationship between the â€Å"White elites† and the â€Å"Negroes† in Brazilian society as a situation where the former â€Å"limit themselves to treating the Negro with tolerance, maintaining the old ceremonial politeness in inter-racial relationships and excluding from this tolerance any true egalitarian feeling or content. † (Hanchard 32) By articulating the â€Å"hegemonic position† of the White population over the Black one, he more than hinted at the absence of racial democracy in Brazilian society. Fernandes’ analyzed the racial interaction of the society a pivotal time in economic Brazilian history. The importance of his written work may largely be attributed the perfect timing of it. His deconstructions and analysis of Brazilian society then, through interviews and the gathering of empirical data, did much to further the study of Brazilian racial relations. Moreover, his role and significant importance to the field is further underscored by the fact that he was the first to analyze the linkage between race and class in the context of Brazilian socio-economic development. He claimed that the Brazilian Blacks were â€Å"exploited both during and after slavery by uncaring whites†. However, in a turn-about, he concludes that the Afro-Brazilian is â€Å"dysfunctional, suffering from anomie, hopelessness and immorality† and lacked a sense of discipline and responsibility that made them pale in comparison to Italian immigrants for competition in the labour markets. Hanchard, however, took issue with this particular conclusion and rebutted by emphasing the failure of Fernandes’ missed or misappreciated the important fact that the intervention of big landowners and government officials played a crucial role in creating a marketplace that preferred Southern European immigrants. In essence, Fernandes’ approach fails is that his discussion of the Negro social movement was confined to issues of racial inequality where race itself was autonomous and not an economic variable nor indicator. George Reid Andrews, by using an approach offered by Greenberg, refutes Fernandes’ claims and forwards his own. Andrews’ approach fares better than the previously discussed one of Fernandes’ to the extent that he explored the â€Å"collusion between the state government and landowners to foster economic development† by subsidizing European immigration creating a rocky playing field where the Blacks were the destined losers. He then claims that although slavery played the role of a detrimental catalyst in Brazilian socio-economic development, it is but one of many factors to the displacement of Afro-Brazilian workers. He considered state intervention more critical in that policy itself structured the economic oppression by the doling out of development funds in a very preferential treatment to European immigrant workers. Thus, he introduced a very important aspect into the debates; that of the material dimension of race and how it structures state policies. At this junction, the theoretical wars began to include a different perspective: Structuralist. As the third generation of race relations, this school of thought rebuts and debunks the racial democracy myth proposed by their predecessors. Carlos Hasenblag and Nelson Do Valle Silva are two of the most prominent figures in this approach that does not treat race and class as being on opposing ends of the same spectrum but rather they situated racial inequality at the very heart of socio-economic relations and the development and trends of the labour market. Harchand, however, critically points out that although there was a discussion of racial inequality, there was virtually no explanation offered how such inequality id politically constructed or even contested. â€Å"Despite the conceptual differences between the Reductionists and Structuralists, the tendencies seemed to concur about one crucial dimension of Brazilian race relations; a dimension that seemed to distinguish Afro-Brazilians from their US counterparts: a lack of collective awareness of themselves as a subordinated racial group. † (Hanchard 41) By analyzing the theories at hand, one thing is clear: the need for a better-tailored conceptual framework to be used as a guide for racially equal policy making. DISCUSSION QUESTIONS: 1. In an effort to stop the mentality of finger-pointing to the dominant white, what has the different Afro-Brazilian social movements done, or at least attempted to bring about, in order to correct the racial inequality with regard to economic policy and labour markets? 2. What are some concrete state policies, like the Black Economic Empowerment Movement of South Africa, that can correct this historical injustice?

Queer Theory Reading of a Picture of Dorian Gray

Queer Theory Reading of a Picture of Dorian Gray Aestheticism dictates that life should be lived by an ideal of beauty and a movement embodied by the phrase of art for arts sake. There is perhaps no greater advocate of such beliefs as Oscar Wilde, and the characteristics of aestheticism run through much of his work, both plays and stories, particularly in the character of the dandy. It would be difficult to analyse any of Wildes work without considering his own personal life and consequently, almost impossible to analyse his use of aesthetics without tackling the elements of homoeroticism. Living in a society largely intolerant to homosexuality, Wilde was obviously restricted to some extent with regard to what he could write about explicitly and as a result secrecy becomes an important influence over Wildes work. This makes for an extremely interesting relationship between aestheticism and homoeroticism, and it is this relationship that will form the main focus of this essay. What are the forms and techniques that Wilde uses to aestheticise homosexuality, and why? And how by doing this his literary works reveal aspects of his own life and sexuality, ultimately creating the figure of Wilde the aesthete, dandy, and campy witticist who has become a public icon forhomosexual men in Britain and America. It will focus primarily on The Picture of Dorian Gray, The Importance of Being Earnest and The Happy Prince and Other Stories. The Portrait of Mr. W.H portrays Shakespeare as being a slave to beauty – that is the condition of the artist! This concept of theartist as worshipper of beauty is a recurring characteristic of Wildes literature and will be dealt with later in this chapter. Firstly, itis necessary to look at the ideal of beauty that Wilde presents as worthy of worship. There is an overwhelming resemblance between Wildes portrayal ofbeauty and the concept of beauty in the Greek era. As Summers observesin his book Gay Fictions: Studies in a Male Homosexual Literary Tradition, both The Portrait of Dorian Gray and The Portrait of Mr.W.H focus heavily on portraits of androgynous young men bothstories allude to famous homosexual artists and lovers in history andthey both assume a significant connection between homosexual Eros andart. Same-sex desire is referenced heavily throughout Greek literature, for example, during the sixth century, the poet Sappho wrote numerous homoerotic verses concerning young women, with the term lesbian derived from the name of her island home of Lesbos. Platoalso referred to same-sex desires and relations, even forming his own theory on the pre-determined nature of different sexualities. In words taken from The Portrait of Mr. W.H, the ideal of beauty is a beauty that seemed to combine the charm of both sexes, and to have we dded, as the Sonnets tell us, the grace of Adonis and the loveliness ofHelen. Wilde uses this Greek ideal of beauty as a means of adding authority to his allusions to homoeroticism, to make the content of the two aforementioned works more acceptable to a Victorian audience. Itis important to note that there is a marked difference of public attitude towards homosexuality and homoeroticism between Greek and Victorian society. Donald Hall observes that during the Greek eraadult male sexuality, had much more to do with power status and social positioning than it did with any expression of identity-determining desire for the same or other sex. Wildes ideal of beauty also overlaps with the Greek concept of the muse. The Portrait of Dorian Gray presents us with Dorian, the muse topainter Basil Hallward, and The Portrait of Mr. W.H provides us withan insight into the life of one of the most famous muses of all, the young man who Shakespeare addressed many of his sonnets to Who was he whose physical beauty was such that it became the very corner-stone of Shakespeares art; the very source of Shakespeares inspiration; the very incarnation of Shakespeares dreams. The muse, defined as asource of inspiration especially for a creative artist succeeds in objectifying the subject, transforming a human presence into aesthetic fodder to fuel the creative mind, as well as something far superior tothe person beholding the muse. With regard to The Picture of Dorian Gray, Summers suggests that, the implied link between homosexual Erosand creativity is clear in Dorians effect on Basils art. Dorians beauty and the ideal that he represents ca use Basil to see the world afresh and inspire him to his greatest work as an artist. This is where the idea of worshipping beauty comes into play. TheHappy Prince, for example, is distinctly removed from everyday lifeand is admired from afar in a quite literal sense. However, Dorian isperhaps the best illustration of Wildes fascination with the worshipof beauty. The novel suggests that to other young men Dorian seemedto be of the company of those whom Dante describes as having sought toâ€Å"make themselves perfect by the worship of beauty.† Like Gautier, hewas one for whom the visible world existed. At the same time,Dorian is presented to us as the worshipped, with regard to hisrelationship with Basil Hallward. The experience of the muse in the manner of Basil and Shakespeare (asportrayed by Wilde) seems to present something of a double-edged sword,producing feelings of such passion that joy and despair becomeintertwined. The narrator of The Portrait of Mr. W.H suggests thatShakespeares muse was a particular young man whose personality forsome reason seems to have filled the soul of Shakespeare with terriblejoy and no less terrible despair. In a similar vein, Basil hasominous feelings on meeting Dorian for the first time, I knew that Ihad come face to face with someone whose mere personality was sofascinating that, if I allowed it to do so, it would absorb my wholenature, my whole soul, my very art itself. The effect of beauty canbe seen as both gift and curse – in the same way that Wilde perhapsregarded homosexuality in Victorian society. The importance that Wilde places on the worship of beauty is closelyrelated to his strong beliefs in aestheticism. The distance that Wildeseeks to construct between the observer and the object of beauty can beread as a mechanism of aestheticism whereby he aims to eliminate anyattachment to moral and wider societal concerns. The following chapterwill analyse the relation of aesthetics to Wildes literary works, andhow far he is able to separate the appreciation of art from moralvalues. Mary Blanchard, in Oscar Wildes America suggests that the personaof the invert or male homosexual was an emerging concept during the1880s, and the connections between aesthetic style and a homosexualsubculture cannot be overlooked. And with other critics referring toWilde as the high priest of aestheticism, its clear that Oscar is noexception to this rule. He lived a hedonistic lifestyle, flitting as asocial butterfly from one experience of art and beauty to the next. InVictorian times the male dandy soon became a symbol of this aestheticage, with no finer literary examples than Dorian and Lord Henry of ThePortrait of Dorian Gray, and Algernon and Jack of The Importance ofBeing Earnest. Lord Henry declares that pleasure is the only thingworth having a theory about and it is this preoccupation withmaterial things and surface-level emotions that characterises thedandy, a choice of style over substance. As a result Dorian becomesfascinated with acquiring commodities such as perfumes, je wels andmusic. Wilde dedicates pages of description to this search forsensations that would be at once new and possess that element ofstrangeness that is so essential to romance. The concept of dandyism is closely linked to that of Victoriandecadence. Goldfarb, in his essay on Late Victorian Decadenceprovides us with a useful definition of decadence, highlighting itsresemblance to aestheticism – the value to be gained from experienceof all sorts and from indulgence in a life of sensation. Because ofthis emphasis, decadent literature is animated by the exploration ofimmoral and evil experiences; never does it preach morality, nor doesit strongly insist upon ethical responsibilities. This separationbetween decadence and morality is also a characteristic common toaestheticism. Glick studies the concepts of dandyism at length in her essay onThe Dialectics of Dandyism, identifying an opposition betweencritical thought on dandyism and arguing that two different modelslocate dandyism at the opposite poles of modernity, simultaneouslypositioning the queer subject as a privileged emblem of the modern andas a dissident in revolt against society. Therefore, on the one handthe reader can accept the dandy as person who embraces the aestheticsof culture and celebrates beauty – as a preoccupation with surfacetrends to conceive of gay identity solely or primarily in terms ofartifice, aesthetics, commodity fetishism and style. Or, beneath thesurface, we can read a protest against the commodification of modernlife and a rejection of common values and aspirations. Goldfarb note asimilar contempt for modern society in the movement of decadence, aself-conscious contempt for social conventions such as truth andmarriage, by an acceptance of Beauty as a basis for life. Bothaestheticism and decadence seek to remove beauty from the confines ofmodern society and use it to their own ends in a self-created sensualand fantastical lifestyle. Wildes use of aestheticism can be read as an attempt to showhomosexuality as a sign of refined culture, as a means to his desiredend where such a topic becomes more acceptable. In the same way thatWilde alludes to the Greek ideal of beauty to disguise what couldotherwise be seen as a direct and possibly offensive portrayal ofhomosexual desire, by adhering to the rules of aestheticism Wilde isable to divert attention from any moral attack on his writing. Themovement of aestheticism shuns any notion that art can be connectedwith morality and passionately encourages individual freedom and socialtheatricality. Ironically, whilst it can largely be seen as arebellion against Victorian sensibilities, it is simultaneously amethod of retaining a covert nature to the expression of homoeroticdesire. In the case of Basil Hallward, he finds art an outlet for suchdesires, there is nothing that Art cannot express. Through Dorian,Basil is able to discover a new manner in art, an entirely new mode of style not just when he is painting Dorian, but when he is merelypresent. It allows him a new way of looking at life, having realisedthe power of homoeroticism In presenting homosexuality through the lens of aestheticism andconsequently presenting it as a refined culture with close links to theidealised and romantic image of the Greek age, Wilde also separates thelifestyle of the homosexual man from the classes of heterosexualsociety. As Elisa Glick suggests in her essay on the dialectics ofdandyism, Wilde depicts Dorians seemingly endless appetite forexotic, luxury objects as the exterior manifestation of his innerintellectual and artistic superiority. This presents Doriansdesires and those of other aetheticism advocates as elitist andultimately superior to other classes. Through the use of aestheticism,it can be argued that Wilde attempts to give homoeroticism the power totranscend class. By describing such episodes in this romantic andfantastical manner, he places homosexuality in a highly refined classof its own, in a position out of reach from the realities of theworking class and bourgeoisie. To take this concept one step further, Wilde can also be seen toreject the realities of common society entirely, as an aesthetepreferring to lose himself in sensual experiences and ultimatelydreaming of an escape from reality to a place where such experience canbe fully realised. Glick goes on to note that Dorians acquisition ofluxuries and curios not only seems to affirm his â€Å"aristocratic†distinction, but also aims to build a self-created world byaestheticizing experience itself. Gray yearns not so much for theenjoyment provided by an individual object, but for the aestheticpleasure provided by its reincarnation of part of his collection.Indeed, Dorian does become obsessed with creating his own desiredversion of reality, in which worshipping beauty and living by thesenses is the priority. Having embarked on this aesthetic journey-largely instigated by Lord Henry –Dorians passion to adhere to theseideals becomes clear, It was the creation of such worlds as these th atseemed to Dorian Gray to be the true object, or amongst the trueobjects of life. Early in the novel Wilde even goes so far as toassociate reality directly with the lower classes and as therefore,something ranked below the aspirations and lifestyle of those likeDorian; in this extract no sooner is Dorian overcome by fascinationwith Lord Henry than he is brought down to earth by the entrance of aservant: Dorian Gray never took his gaze off him, but sat like one under aspell, smiles chasing each other over his lips, and wonder growinggrave in his darkening eyes. At last, liveried in the costume of the age, Reality entered the roomin the shape of a servant to tell the Duchess that her carriage waswaiting. By personifying Reality Wilde presents it as something that can bedefeated, beaten by those who have enough desire and strength of mindto do so. In the same way Wilde often capitalises and personifiesArt to add character to the subject and emphasise his position onthat subject. Although in one respect this separation of the dandy or aesthetefrom reality may seem to alienate him from others in society, thecontent of Wildes narration does not necessarily isolate him from amoral standpoint. It is interesting to note that we are given verylittle information on the uglier types of experience that Dorianseeks. As readers, we understand the influences and transition thatthe protagonist is going through as his soul darkens, but we are noteducated in the exact nature of the experiences. This allows lessopportunity for concentrating on the moral aspects of his lifestylechoices, and more opportunity for pondering on the nature ofaestheticism; we focus more on the influences on Dorian and theconsequences, rather than on judging his actions and decisions. Whenone delves deeper to find a moral standpoint on Wildes part, it isdifficult to do so, and consequently, easier to assume that the absenceof analysis in this area suggests ambiguity on his part. Summer seeks to find an answer to this moral ambiguity in the worldof Oscar Wilde himself, and in relation to The Portrait of Dorian Grayfound that Wilde summarised the moral as â€Å"all excess, as well as allrenunciation, brings its own punishment. The painter, Basil Hallward,worshipping physical beauty far too much, as most painters do, dies bythe hand of one in whose soul he has created a monstrous and absurdvanity. Dorian Gray, having led a life of mere sensation and pleasure,tries to kill conscience, and at that moment kills himself. Thiscomment of Wildes confirms the notion that becoming a slave to beautyis a condition of art, illustrated by the tone of the inevitable thataccompanies the phrase as most painters do, an observation that wecan easily transfer to the experience of other artists as well. Wildegoes on to explain that Lord Henry Wotton seeks to be merely thespectator of life. He finds that those who reject the battle are moredeeply wounded than those who take part i n it. In this respect bothBasil and Henry are ultimately doomed, thus suggesting no clear moralpath that the reader need follow for salvation. Moral ambivalenceoccurs frequently as a result of the narrators attitude; the narratoris sympathetic towards whichever character he is describing, and inparticular, often seems just as seduced by the strong and influentialcharacter of Lord Henry as Dorian is. With this in mind, Summersconcludes that notwithstanding the retributive ending of the book, theFaustian dream of an escape from human limitation and moral stricturesultimately triumphs over the condemnation of excess and therebysubverts the apparent moralism. To summarise, he argues that theFaustian dream is rendered more appealingly than the superimposedlesson of dangers of narcissism. However, if we accept Summersreading, it still remains impossible to read the novel withoutquestioning the relationship between aestheticism and morality.Whether we believe Wilde to subvert or strengthen common moral values,their presence within the narration is undeniable and invites furtherthought from the reader. To conclude this chapter on aestheticism, we can see that Wildesliterature aestheticism and homosexuality exist co dependently. Thisobviously has an effect on the publics reading of his works, and howreadily and comfortably they associate these two aspects. As Summerssuggests it is interesting to note that The Picture of Dorian Gray wasamong the first novels in the language to feature (though blurred andinexactly) a homosexual subculture Summers wrote that homosexualreaders would certainly have responded to the books undercurrent ofgay feeling, and may have found the very name â€Å"Dorian† suggestive ofGreek homosexuality, since it was Dorian tribesmen who allegedlyintroduced homosexuality into Greece as part of their militaryregimen. In contrast, Mary Blanchard notes a negative consequenceconcerning heterosexual readers during the Victorian era – Allyingaesthetic style with the masculine self provoked attacks from someVictorian men unsure of their own gender orientati on. This raisesthe issue of how a heterosexual readership can be seen to react to theundertone of homosexuality, and how a readers interpretation canchange when fuelled by more knowledge of Oscar Wildes personal life.Before looking at the effect of the writer on what is ultimately afictional narrator, this essay will look at the importance of secrecyin the life of the homosexual man. Todays society is obviously more accepting of Wildes sexuality andits effect on his art, Summers illustrates this point by suggestingthat Wildes demise meant that he ultimately functioned as Saint Oscar,the homosexual martyr. But of course it was not until some timeafter the late nineteenth century that Wilde was fully appreciated by awider audience. Miller and Adams in Sexualities in Victorian Britainobserve that the Victorians were notorious as the great enemies ofsexuality: indeed in Freuds representative account, sexualitysometimes seems to be whatever it was that the middle-class Victorianmind attempted to hide, evade, repress, deny. In this respect thehomosexual man had a double secrecy to adhere to – that of sexuality,as well as homosexuality. In Victorian society there was very much aclear-cut idea of what was natural and unnatural, of what was normaland abnormal. Consequently, Wilde set himself up as a figure to beattacked by the press as unnatural and abnormal the V ictorian presspublicized in wildly inflammatory ways Wildes eccentric dress,effeminate, and haughty demeanour, all held up as important signifiersof his unnatural sexuality and the threat he posed to â€Å"normal,†middle-class values. Being such an extravagant and extrovertedcharacter, Wildes sexuality was not particularly covert and eventuallyprovided Victorian society with a case by which to lay down the law asto what was acceptable in terms of sexuality. As Ed Cohen suggests inhis essay, Writing Gone Wild: Homoerotic Desire in the Closet ofRepresentation, the court proceedings against Wilde provided aperfect opportunity to define publicly the authorized and legal limitswithin which a man could â€Å"naturally† enjoy the pleasures of his bodywith another man. Despite the fact that it was Wildes indiscrete homosexual behaviourand demeanour that led to his downfall, aspects of secrecy featureheavily in his literary works and certain narrative techniques aid tothe covert nature in which homoeroticism is often presented. To recap,by relating same-sex friendships to aestheticism and ideals of beauty,Wilde is able to divert attention from aspects of homosexuality thatwould be otherwise be interpreted as immoral by Victorian society.Also, Wilde omits any direct reference or description of same-sexphysical relations and hardly even alludes to such activities. Thecontent of the narration and emphasis on aestheticism means that ahomoerotic reading of Dorian Gray is not immediately obvious – at leastnot to a heterosexual readership. Therefore, homosexual love becomesthe love that cannot be spoken of and is fundamentally secretive. The secret language of homosexuality is particularly evident in TheImportance of Being Earnest, a play riddled with code words alluding tohomosexual behaviour. Karl Beckson argues that the title of the playis not only a pun on the name of Earnest, but is also a representationof same-sex love since the term Urning (a variant of the more commonlyused Uranian) referred to same-sex desire in fin-de-siecle London.Beckson also argues that Wildes use of the term bunburying as ameans for Algernon to escape responsibility also has Uranianimplications. With the action of bunburying being such a focal pointof The Importance of Being Earnest, this reading of the play suggest aserious preoccupation with the secret world of the homosexual. It isalso interesting to note that an unnamed critic in Time suggests thatâ€Å"Bunburying was shorthand for a visit to a fashionable London malewhorehouse† (2 February 1979, 73), an opinion reaffirmed by JoelFineman in 1980. Understandably, after the suc cess of play thephrase bunburying became a commonly used term as same-sex slang.John Franceschina notes other code words used in the play as musical,effeminate, and aunty, all of them Victorian expressions for same-sexactivity. Yet, again Wilde diverts attention from a moral reading bywriting in a style that is based on farce and euphemism, a style thatrejects an immediate analytical reading. In her essay Dialectics of Dandyism, Elisa Glick observes theissue of secrecy within both modern and Victorian society and suggeststhat modern gay identity is pervaded by the trope of the secret.She pays particular interest to the dichotomy of appearance and whatlies beneath, in her words the opposition between outward appearanceand inner essence. This split between appearance and essence of apersons character and desires is central to Wildes portrayal ofhomosexuality, as illustrated by the character of Dorian Gray. Dorianis a contradiction of appearance and essence, with the portrait beingan omnipresent reminder of this. And to return to The Importance ofBeing Earnest, the very act of bunburying on Algernon Moncrieffs partsuggests a web of deceit where appearances are never compatible withreality. One might think that such a heavy reliance on secrecy might lead tosome resentment by those forced to hide their sexuality from anintolerant society, but in the case of Wildes dandies, this does notseem to be the case. In fact, such characters appear to activelyembrace a world of secrecy. If we equate Dorians portrait withhomosexuality, then we can read his response to the secrecy that isforced upon him as something of a guilty pleasure pride ofindividualism that is half fascination of sin, and smiling with secretpleasure at the misshapen shadow that had to bear the burden thatshould have been his own. This seems to suggest that throughsecrecy, a homosexual man can avoid all the negative consequences thatwould be thrust upon him by an offended Victorian society. Glickobserves that it the portrait is not just related to the secret worldof Dorian, but that it also functions on a wider scale, Wilde makes itclear that the portrait does not exhibit a single secret; rather it isthe site f or a circulation of secrecy in which all these characters –Basil, Dorian, and Lord Henry – are implicated. The portraittherefore, becomes a symbol of the secrecy of the homosexual man, whichis simultaneously associated with issues of aestheticism. Glick goeson to suggest that Basil expresses the sense of homosexuality as bothknown and unknowable – the double bind of gay identity – when hedeclares, â€Å"I have come to love secrecy. It seems to be the one thingthat can make modern life mysterious or marvellous to us. Thecommonest thing is delightful if only one hides it. But just how realistically can homosexuality exist by these secretcodes of conduct? Just as Wilde suffers at the hands of an intolerantsociety, so does Dorian Gray struggle to live a life of doubleidentity. By the end of the novel it becomes clear that he issuspended between two worlds, with no lasting way of marrying the two.To return to the essay of Elisa Glick, Dorian must die when he stabsthe portrait because he can only exist in the relation between thepublic and the private, a relation that Wilde literalizes in theportrait and its subject. Right from the outset of The Picture ofDorian Gray we are presented with the concept of that part of anartists inspiration that remains secret and personal to them.Therefore, the portrait of Dorian Gray does not merely conceal thesecrets of Dorian, but also the secrets of the painter of the subject -the portrait is a â€Å"mysterious form† because its outward appearanceconceals its inner essence. – it reveals the essence of both painterand painted. The secret desire hidden within the painting is broughtto our attention by Henrys shallow comment that the painting looksnothing like Basil; the fact that his retort misses the point entirelymerely succeeds in enhancing our understanding that there is much moreof Basils desires and passion in the painting than is immediatelyobvious from its surface attributes. Interestingly, this revelationcontradicts the concept of appreciating art purely for its appearanceand with no relation to moral values. In many cases living by thesenses reveals much about the person, and experiences cannot be soeasily detached from emotion and personal feeling. For example, whenDorian falls in love with Sibyl Vane, Henry observes that out of itssecret hiding place had crept his Soul, and Desire had come to meet iton the way. Within the stereotypical lifestyles of the aesthetes,inner feeling will inevitably show its face and with it, bring at leasta fleeting ponder on moral values. Having analysed The Importance of Being Earnest and The Picture ofDorian Gray with regard to elements of secrecy, both positive andnegative consequences of such an influence on homosexual lifestyle areapparent. But it is the story of The Happy Prince that puts Wildesfinal and definitive seal of opinion on the issue of secrecy. Once theswallow has sacrificed his life for the statue of the Prince, the twoTown Councillors far from understand the relationship between theswallow and prince, becoming preoccupied with the trivial matter of whoshould be the subject of the next statue. However, there is ultimatelya happy ending with the swallow and Prince receiving recognition andacceptance from God, for in my garden of Paradise this little birdshall sing for evermore, and in my city of gold the Happy Prince shallpraise me. The relationship between Prince and Swallow does havehomoerotic undertones, with the Swallow often read as the dandycharacter, in this case fascinated by the beauty of the statue. Thehomoerotic aspect of the tale culminates in a kiss between the two,but you must kiss me on the lips, for I love you. If we are toaccept a homoerotic reading of The Happy Prince then accordingly wecan read the ending as Wilde voicing his opinion of homosexuality asnatural and literally giving such a lifestyle the blessing of God. InThe Portrait of Dorian Gray, Wilde uses a similar technique whereby hepresents the character who can most easily be classified as homosexual,as the very character who is the most morally sensitive. However, a homoerotic reading of The Happy Prince, indeed of anyof Wildes literary works, relies on and is substantially influenced byour knowledge of Oscar Wildes personal life. This brings us to thefinal chapter of this dissertation, a chapter that will analyse therelationship between the writer and the narrator, and the effect ofthis relationship on aesthetic and homoerotic readings of Wildesfiction. Chapter 5 -Wilde the storyteller So far we have looked mainly at The Importance of Being Earnest andThe Picture of Dorian Gray and we have touched upon the fact that it isoften difficult to read such works without considering the personallife of Oscar Wilde. A Victorian audience would have held someknowledge of Wilde, considering that he was an extremely sociablecharacter with social critiques often published in Reviews of thetime. And of course, his two years imprisonment would have beenwidely publicised and consequently common knowledge. There is no doubtthat it was around this time that heterosexual readers would havestruggled to accept the links that Wilde makes between aestheticism andhomosexuality, fearing a similar fate merely for sharing thecharacteristics of aestheticism. Reading in the twenty-first centurywe now have the privilege of even further information on Wildesprivate life. The nineteenth century novel largely focused on the third person,omnipresent narrator, and in doing so inevitably drew attention to thepersona of the narrator and subsequently to the author himself. Wildeis no exception to this rule and it is difficult not to see his owncharacter or what we believe to be his own character shinethrough. As suggested in the previous chapter, it is not just thecondition of the artist to worship beauty, but also to allow his owncharacter and desires to become a part of his art. In the case of ThePortrait of Dorian Gray, our knowledge of Wilde as a dandy and aesthetecolours our interpretation of characters such as Lord Henry andDorian. Knowing what we do about Wildes extravagant social life andturbulent relationship with the press, lines such as You dont wantpeople to talk of you as something vile and degraded spoken to Dorianby Basil, begin to take on more significant meaning. With this quotein mind, it is possible to read between the lines and observ e a feelingin Wilde that he wishes somehow, outside of his literature not to belooked upon as vile and degraded. This desire for acceptance isoffset by the more typical tongue in cheek wit of Wilde, the use ofwhich diverts attention from serious emotions. This type of humour canbe seen in Dorians retort to Basil on hearing gossip, I love scandalsabout other people, but scandals about myself dont interest me. Theyhave not got the charm of novelty. It seems that Wilde isdeliberately poking fun at himself and joining in with the popularridicule that was present in Victorian society about the life of theaesthetic gentleman. Many cartoons and caricatures were in circulationat the time that sought to make fun of the extravagances of theaesthetic lifestyle. Numerous satirical works were also released,worth particular mention is Robert Hitchens Green Carnation, asatirical novel on decadence influenced by the authors beliefs inaestheticism as unconventional and exhibitionist. The Importance ofBeing Earnest also has a farcical tone throughout, which often servesto allow the reader to question Wildes authority, whilst also allyingthe comments of certain characters with Oscar himself. For example, aline of Gwendolen appears to point directly at Wildes personal life,And certainly once a man begins to neglect his domestic duties hebecomes painfully effeminate, does he not? And I dont like that. Itmakes men so very attractive. However, many critics would argue that the very definition of fictiondictates that the reader should accept that there need not necessarilybe a connection between narrator and author. In the same way that anactor does not need to have experienced a similar history and lifestyleto the character they play, so too should we allow the writer to assumedifferent characters. This very point crops up in the story of ThePortrait of Mr W.H whereby the narrator argues that To say that only awoman can portray the passions of a woman, and that therefore no boycan play Rosalind, is to rob the Queer Theory Reading of a Picture of Dorian Gray Queer Theory Reading of a Picture of Dorian Gray Aestheticism dictates that life should be lived by an ideal of beauty and a movement embodied by the phrase of art for arts sake. There is perhaps no greater advocate of such beliefs as Oscar Wilde, and the characteristics of aestheticism run through much of his work, both plays and stories, particularly in the character of the dandy. It would be difficult to analyse any of Wildes work without considering his own personal life and consequently, almost impossible to analyse his use of aesthetics without tackling the elements of homoeroticism. Living in a society largely intolerant to homosexuality, Wilde was obviously restricted to some extent with regard to what he could write about explicitly and as a result secrecy becomes an important influence over Wildes work. This makes for an extremely interesting relationship between aestheticism and homoeroticism, and it is this relationship that will form the main focus of this essay. What are the forms and techniques that Wilde uses to aestheticise homosexuality, and why? And how by doing this his literary works reveal aspects of his own life and sexuality, ultimately creating the figure of Wilde the aesthete, dandy, and campy witticist who has become a public icon forhomosexual men in Britain and America. It will focus primarily on The Picture of Dorian Gray, The Importance of Being Earnest and The Happy Prince and Other Stories. The Portrait of Mr. W.H portrays Shakespeare as being a slave to beauty – that is the condition of the artist! This concept of theartist as worshipper of beauty is a recurring characteristic of Wildes literature and will be dealt with later in this chapter. Firstly, itis necessary to look at the ideal of beauty that Wilde presents as worthy of worship. There is an overwhelming resemblance between Wildes portrayal ofbeauty and the concept of beauty in the Greek era. As Summers observesin his book Gay Fictions: Studies in a Male Homosexual Literary Tradition, both The Portrait of Dorian Gray and The Portrait of Mr.W.H focus heavily on portraits of androgynous young men bothstories allude to famous homosexual artists and lovers in history andthey both assume a significant connection between homosexual Eros andart. Same-sex desire is referenced heavily throughout Greek literature, for example, during the sixth century, the poet Sappho wrote numerous homoerotic verses concerning young women, with the term lesbian derived from the name of her island home of Lesbos. Platoalso referred to same-sex desires and relations, even forming his own theory on the pre-determined nature of different sexualities. In words taken from The Portrait of Mr. W.H, the ideal of beauty is a beauty that seemed to combine the charm of both sexes, and to have we dded, as the Sonnets tell us, the grace of Adonis and the loveliness ofHelen. Wilde uses this Greek ideal of beauty as a means of adding authority to his allusions to homoeroticism, to make the content of the two aforementioned works more acceptable to a Victorian audience. Itis important to note that there is a marked difference of public attitude towards homosexuality and homoeroticism between Greek and Victorian society. Donald Hall observes that during the Greek eraadult male sexuality, had much more to do with power status and social positioning than it did with any expression of identity-determining desire for the same or other sex. Wildes ideal of beauty also overlaps with the Greek concept of the muse. The Portrait of Dorian Gray presents us with Dorian, the muse topainter Basil Hallward, and The Portrait of Mr. W.H provides us withan insight into the life of one of the most famous muses of all, the young man who Shakespeare addressed many of his sonnets to Who was he whose physical beauty was such that it became the very corner-stone of Shakespeares art; the very source of Shakespeares inspiration; the very incarnation of Shakespeares dreams. The muse, defined as asource of inspiration especially for a creative artist succeeds in objectifying the subject, transforming a human presence into aesthetic fodder to fuel the creative mind, as well as something far superior tothe person beholding the muse. With regard to The Picture of Dorian Gray, Summers suggests that, the implied link between homosexual Erosand creativity is clear in Dorians effect on Basils art. Dorians beauty and the ideal that he represents ca use Basil to see the world afresh and inspire him to his greatest work as an artist. This is where the idea of worshipping beauty comes into play. TheHappy Prince, for example, is distinctly removed from everyday lifeand is admired from afar in a quite literal sense. However, Dorian isperhaps the best illustration of Wildes fascination with the worshipof beauty. The novel suggests that to other young men Dorian seemedto be of the company of those whom Dante describes as having sought toâ€Å"make themselves perfect by the worship of beauty.† Like Gautier, hewas one for whom the visible world existed. At the same time,Dorian is presented to us as the worshipped, with regard to hisrelationship with Basil Hallward. The experience of the muse in the manner of Basil and Shakespeare (asportrayed by Wilde) seems to present something of a double-edged sword,producing feelings of such passion that joy and despair becomeintertwined. The narrator of The Portrait of Mr. W.H suggests thatShakespeares muse was a particular young man whose personality forsome reason seems to have filled the soul of Shakespeare with terriblejoy and no less terrible despair. In a similar vein, Basil hasominous feelings on meeting Dorian for the first time, I knew that Ihad come face to face with someone whose mere personality was sofascinating that, if I allowed it to do so, it would absorb my wholenature, my whole soul, my very art itself. The effect of beauty canbe seen as both gift and curse – in the same way that Wilde perhapsregarded homosexuality in Victorian society. The importance that Wilde places on the worship of beauty is closelyrelated to his strong beliefs in aestheticism. The distance that Wildeseeks to construct between the observer and the object of beauty can beread as a mechanism of aestheticism whereby he aims to eliminate anyattachment to moral and wider societal concerns. The following chapterwill analyse the relation of aesthetics to Wildes literary works, andhow far he is able to separate the appreciation of art from moralvalues. Mary Blanchard, in Oscar Wildes America suggests that the personaof the invert or male homosexual was an emerging concept during the1880s, and the connections between aesthetic style and a homosexualsubculture cannot be overlooked. And with other critics referring toWilde as the high priest of aestheticism, its clear that Oscar is noexception to this rule. He lived a hedonistic lifestyle, flitting as asocial butterfly from one experience of art and beauty to the next. InVictorian times the male dandy soon became a symbol of this aestheticage, with no finer literary examples than Dorian and Lord Henry of ThePortrait of Dorian Gray, and Algernon and Jack of The Importance ofBeing Earnest. Lord Henry declares that pleasure is the only thingworth having a theory about and it is this preoccupation withmaterial things and surface-level emotions that characterises thedandy, a choice of style over substance. As a result Dorian becomesfascinated with acquiring commodities such as perfumes, je wels andmusic. Wilde dedicates pages of description to this search forsensations that would be at once new and possess that element ofstrangeness that is so essential to romance. The concept of dandyism is closely linked to that of Victoriandecadence. Goldfarb, in his essay on Late Victorian Decadenceprovides us with a useful definition of decadence, highlighting itsresemblance to aestheticism – the value to be gained from experienceof all sorts and from indulgence in a life of sensation. Because ofthis emphasis, decadent literature is animated by the exploration ofimmoral and evil experiences; never does it preach morality, nor doesit strongly insist upon ethical responsibilities. This separationbetween decadence and morality is also a characteristic common toaestheticism. Glick studies the concepts of dandyism at length in her essay onThe Dialectics of Dandyism, identifying an opposition betweencritical thought on dandyism and arguing that two different modelslocate dandyism at the opposite poles of modernity, simultaneouslypositioning the queer subject as a privileged emblem of the modern andas a dissident in revolt against society. Therefore, on the one handthe reader can accept the dandy as person who embraces the aestheticsof culture and celebrates beauty – as a preoccupation with surfacetrends to conceive of gay identity solely or primarily in terms ofartifice, aesthetics, commodity fetishism and style. Or, beneath thesurface, we can read a protest against the commodification of modernlife and a rejection of common values and aspirations. Goldfarb note asimilar contempt for modern society in the movement of decadence, aself-conscious contempt for social conventions such as truth andmarriage, by an acceptance of Beauty as a basis for life. Bothaestheticism and decadence seek to remove beauty from the confines ofmodern society and use it to their own ends in a self-created sensualand fantastical lifestyle. Wildes use of aestheticism can be read as an attempt to showhomosexuality as a sign of refined culture, as a means to his desiredend where such a topic becomes more acceptable. In the same way thatWilde alludes to the Greek ideal of beauty to disguise what couldotherwise be seen as a direct and possibly offensive portrayal ofhomosexual desire, by adhering to the rules of aestheticism Wilde isable to divert attention from any moral attack on his writing. Themovement of aestheticism shuns any notion that art can be connectedwith morality and passionately encourages individual freedom and socialtheatricality. Ironically, whilst it can largely be seen as arebellion against Victorian sensibilities, it is simultaneously amethod of retaining a covert nature to the expression of homoeroticdesire. In the case of Basil Hallward, he finds art an outlet for suchdesires, there is nothing that Art cannot express. Through Dorian,Basil is able to discover a new manner in art, an entirely new mode of style not just when he is painting Dorian, but when he is merelypresent. It allows him a new way of looking at life, having realisedthe power of homoeroticism In presenting homosexuality through the lens of aestheticism andconsequently presenting it as a refined culture with close links to theidealised and romantic image of the Greek age, Wilde also separates thelifestyle of the homosexual man from the classes of heterosexualsociety. As Elisa Glick suggests in her essay on the dialectics ofdandyism, Wilde depicts Dorians seemingly endless appetite forexotic, luxury objects as the exterior manifestation of his innerintellectual and artistic superiority. This presents Doriansdesires and those of other aetheticism advocates as elitist andultimately superior to other classes. Through the use of aestheticism,it can be argued that Wilde attempts to give homoeroticism the power totranscend class. By describing such episodes in this romantic andfantastical manner, he places homosexuality in a highly refined classof its own, in a position out of reach from the realities of theworking class and bourgeoisie. To take this concept one step further, Wilde can also be seen toreject the realities of common society entirely, as an aesthetepreferring to lose himself in sensual experiences and ultimatelydreaming of an escape from reality to a place where such experience canbe fully realised. Glick goes on to note that Dorians acquisition ofluxuries and curios not only seems to affirm his â€Å"aristocratic†distinction, but also aims to build a self-created world byaestheticizing experience itself. Gray yearns not so much for theenjoyment provided by an individual object, but for the aestheticpleasure provided by its reincarnation of part of his collection.Indeed, Dorian does become obsessed with creating his own desiredversion of reality, in which worshipping beauty and living by thesenses is the priority. Having embarked on this aesthetic journey-largely instigated by Lord Henry –Dorians passion to adhere to theseideals becomes clear, It was the creation of such worlds as these th atseemed to Dorian Gray to be the true object, or amongst the trueobjects of life. Early in the novel Wilde even goes so far as toassociate reality directly with the lower classes and as therefore,something ranked below the aspirations and lifestyle of those likeDorian; in this extract no sooner is Dorian overcome by fascinationwith Lord Henry than he is brought down to earth by the entrance of aservant: Dorian Gray never took his gaze off him, but sat like one under aspell, smiles chasing each other over his lips, and wonder growinggrave in his darkening eyes. At last, liveried in the costume of the age, Reality entered the roomin the shape of a servant to tell the Duchess that her carriage waswaiting. By personifying Reality Wilde presents it as something that can bedefeated, beaten by those who have enough desire and strength of mindto do so. In the same way Wilde often capitalises and personifiesArt to add character to the subject and emphasise his position onthat subject. Although in one respect this separation of the dandy or aesthetefrom reality may seem to alienate him from others in society, thecontent of Wildes narration does not necessarily isolate him from amoral standpoint. It is interesting to note that we are given verylittle information on the uglier types of experience that Dorianseeks. As readers, we understand the influences and transition thatthe protagonist is going through as his soul darkens, but we are noteducated in the exact nature of the experiences. This allows lessopportunity for concentrating on the moral aspects of his lifestylechoices, and more opportunity for pondering on the nature ofaestheticism; we focus more on the influences on Dorian and theconsequences, rather than on judging his actions and decisions. Whenone delves deeper to find a moral standpoint on Wildes part, it isdifficult to do so, and consequently, easier to assume that the absenceof analysis in this area suggests ambiguity on his part. Summer seeks to find an answer to this moral ambiguity in the worldof Oscar Wilde himself, and in relation to The Portrait of Dorian Grayfound that Wilde summarised the moral as â€Å"all excess, as well as allrenunciation, brings its own punishment. The painter, Basil Hallward,worshipping physical beauty far too much, as most painters do, dies bythe hand of one in whose soul he has created a monstrous and absurdvanity. Dorian Gray, having led a life of mere sensation and pleasure,tries to kill conscience, and at that moment kills himself. Thiscomment of Wildes confirms the notion that becoming a slave to beautyis a condition of art, illustrated by the tone of the inevitable thataccompanies the phrase as most painters do, an observation that wecan easily transfer to the experience of other artists as well. Wildegoes on to explain that Lord Henry Wotton seeks to be merely thespectator of life. He finds that those who reject the battle are moredeeply wounded than those who take part i n it. In this respect bothBasil and Henry are ultimately doomed, thus suggesting no clear moralpath that the reader need follow for salvation. Moral ambivalenceoccurs frequently as a result of the narrators attitude; the narratoris sympathetic towards whichever character he is describing, and inparticular, often seems just as seduced by the strong and influentialcharacter of Lord Henry as Dorian is. With this in mind, Summersconcludes that notwithstanding the retributive ending of the book, theFaustian dream of an escape from human limitation and moral stricturesultimately triumphs over the condemnation of excess and therebysubverts the apparent moralism. To summarise, he argues that theFaustian dream is rendered more appealingly than the superimposedlesson of dangers of narcissism. However, if we accept Summersreading, it still remains impossible to read the novel withoutquestioning the relationship between aestheticism and morality.Whether we believe Wilde to subvert or strengthen common moral values,their presence within the narration is undeniable and invites furtherthought from the reader. To conclude this chapter on aestheticism, we can see that Wildesliterature aestheticism and homosexuality exist co dependently. Thisobviously has an effect on the publics reading of his works, and howreadily and comfortably they associate these two aspects. As Summerssuggests it is interesting to note that The Picture of Dorian Gray wasamong the first novels in the language to feature (though blurred andinexactly) a homosexual subculture Summers wrote that homosexualreaders would certainly have responded to the books undercurrent ofgay feeling, and may have found the very name â€Å"Dorian† suggestive ofGreek homosexuality, since it was Dorian tribesmen who allegedlyintroduced homosexuality into Greece as part of their militaryregimen. In contrast, Mary Blanchard notes a negative consequenceconcerning heterosexual readers during the Victorian era – Allyingaesthetic style with the masculine self provoked attacks from someVictorian men unsure of their own gender orientati on. This raisesthe issue of how a heterosexual readership can be seen to react to theundertone of homosexuality, and how a readers interpretation canchange when fuelled by more knowledge of Oscar Wildes personal life.Before looking at the effect of the writer on what is ultimately afictional narrator, this essay will look at the importance of secrecyin the life of the homosexual man. Todays society is obviously more accepting of Wildes sexuality andits effect on his art, Summers illustrates this point by suggestingthat Wildes demise meant that he ultimately functioned as Saint Oscar,the homosexual martyr. But of course it was not until some timeafter the late nineteenth century that Wilde was fully appreciated by awider audience. Miller and Adams in Sexualities in Victorian Britainobserve that the Victorians were notorious as the great enemies ofsexuality: indeed in Freuds representative account, sexualitysometimes seems to be whatever it was that the middle-class Victorianmind attempted to hide, evade, repress, deny. In this respect thehomosexual man had a double secrecy to adhere to – that of sexuality,as well as homosexuality. In Victorian society there was very much aclear-cut idea of what was natural and unnatural, of what was normaland abnormal. Consequently, Wilde set himself up as a figure to beattacked by the press as unnatural and abnormal the V ictorian presspublicized in wildly inflammatory ways Wildes eccentric dress,effeminate, and haughty demeanour, all held up as important signifiersof his unnatural sexuality and the threat he posed to â€Å"normal,†middle-class values. Being such an extravagant and extrovertedcharacter, Wildes sexuality was not particularly covert and eventuallyprovided Victorian society with a case by which to lay down the law asto what was acceptable in terms of sexuality. As Ed Cohen suggests inhis essay, Writing Gone Wild: Homoerotic Desire in the Closet ofRepresentation, the court proceedings against Wilde provided aperfect opportunity to define publicly the authorized and legal limitswithin which a man could â€Å"naturally† enjoy the pleasures of his bodywith another man. Despite the fact that it was Wildes indiscrete homosexual behaviourand demeanour that led to his downfall, aspects of secrecy featureheavily in his literary works and certain narrative techniques aid tothe covert nature in which homoeroticism is often presented. To recap,by relating same-sex friendships to aestheticism and ideals of beauty,Wilde is able to divert attention from aspects of homosexuality thatwould be otherwise be interpreted as immoral by Victorian society.Also, Wilde omits any direct reference or description of same-sexphysical relations and hardly even alludes to such activities. Thecontent of the narration and emphasis on aestheticism means that ahomoerotic reading of Dorian Gray is not immediately obvious – at leastnot to a heterosexual readership. Therefore, homosexual love becomesthe love that cannot be spoken of and is fundamentally secretive. The secret language of homosexuality is particularly evident in TheImportance of Being Earnest, a play riddled with code words alluding tohomosexual behaviour. Karl Beckson argues that the title of the playis not only a pun on the name of Earnest, but is also a representationof same-sex love since the term Urning (a variant of the more commonlyused Uranian) referred to same-sex desire in fin-de-siecle London.Beckson also argues that Wildes use of the term bunburying as ameans for Algernon to escape responsibility also has Uranianimplications. With the action of bunburying being such a focal pointof The Importance of Being Earnest, this reading of the play suggest aserious preoccupation with the secret world of the homosexual. It isalso interesting to note that an unnamed critic in Time suggests thatâ€Å"Bunburying was shorthand for a visit to a fashionable London malewhorehouse† (2 February 1979, 73), an opinion reaffirmed by JoelFineman in 1980. Understandably, after the suc cess of play thephrase bunburying became a commonly used term as same-sex slang.John Franceschina notes other code words used in the play as musical,effeminate, and aunty, all of them Victorian expressions for same-sexactivity. Yet, again Wilde diverts attention from a moral reading bywriting in a style that is based on farce and euphemism, a style thatrejects an immediate analytical reading. In her essay Dialectics of Dandyism, Elisa Glick observes theissue of secrecy within both modern and Victorian society and suggeststhat modern gay identity is pervaded by the trope of the secret.She pays particular interest to the dichotomy of appearance and whatlies beneath, in her words the opposition between outward appearanceand inner essence. This split between appearance and essence of apersons character and desires is central to Wildes portrayal ofhomosexuality, as illustrated by the character of Dorian Gray. Dorianis a contradiction of appearance and essence, with the portrait beingan omnipresent reminder of this. And to return to The Importance ofBeing Earnest, the very act of bunburying on Algernon Moncrieffs partsuggests a web of deceit where appearances are never compatible withreality. One might think that such a heavy reliance on secrecy might lead tosome resentment by those forced to hide their sexuality from anintolerant society, but in the case of Wildes dandies, this does notseem to be the case. In fact, such characters appear to activelyembrace a world of secrecy. If we equate Dorians portrait withhomosexuality, then we can read his response to the secrecy that isforced upon him as something of a guilty pleasure pride ofindividualism that is half fascination of sin, and smiling with secretpleasure at the misshapen shadow that had to bear the burden thatshould have been his own. This seems to suggest that throughsecrecy, a homosexual man can avoid all the negative consequences thatwould be thrust upon him by an offended Victorian society. Glickobserves that it the portrait is not just related to the secret worldof Dorian, but that it also functions on a wider scale, Wilde makes itclear that the portrait does not exhibit a single secret; rather it isthe site f or a circulation of secrecy in which all these characters –Basil, Dorian, and Lord Henry – are implicated. The portraittherefore, becomes a symbol of the secrecy of the homosexual man, whichis simultaneously associated with issues of aestheticism. Glick goeson to suggest that Basil expresses the sense of homosexuality as bothknown and unknowable – the double bind of gay identity – when hedeclares, â€Å"I have come to love secrecy. It seems to be the one thingthat can make modern life mysterious or marvellous to us. Thecommonest thing is delightful if only one hides it. But just how realistically can homosexuality exist by these secretcodes of conduct? Just as Wilde suffers at the hands of an intolerantsociety, so does Dorian Gray struggle to live a life of doubleidentity. By the end of the novel it becomes clear that he issuspended between two worlds, with no lasting way of marrying the two.To return to the essay of Elisa Glick, Dorian must die when he stabsthe portrait because he can only exist in the relation between thepublic and the private, a relation that Wilde literalizes in theportrait and its subject. Right from the outset of The Picture ofDorian Gray we are presented with the concept of that part of anartists inspiration that remains secret and personal to them.Therefore, the portrait of Dorian Gray does not merely conceal thesecrets of Dorian, but also the secrets of the painter of the subject -the portrait is a â€Å"mysterious form† because its outward appearanceconceals its inner essence. – it reveals the essence of both painterand painted. The secret desire hidden within the painting is broughtto our attention by Henrys shallow comment that the painting looksnothing like Basil; the fact that his retort misses the point entirelymerely succeeds in enhancing our understanding that there is much moreof Basils desires and passion in the painting than is immediatelyobvious from its surface attributes. Interestingly, this revelationcontradicts the concept of appreciating art purely for its appearanceand with no relation to moral values. In many cases living by thesenses reveals much about the person, and experiences cannot be soeasily detached from emotion and personal feeling. For example, whenDorian falls in love with Sibyl Vane, Henry observes that out of itssecret hiding place had crept his Soul, and Desire had come to meet iton the way. Within the stereotypical lifestyles of the aesthetes,inner feeling will inevitably show its face and with it, bring at leasta fleeting ponder on moral values. Having analysed The Importance of Being Earnest and The Picture ofDorian Gray with regard to elements of secrecy, both positive andnegative consequences of such an influence on homosexual lifestyle areapparent. But it is the story of The Happy Prince that puts Wildesfinal and definitive seal of opinion on the issue of secrecy. Once theswallow has sacrificed his life for the statue of the Prince, the twoTown Councillors far from understand the relationship between theswallow and prince, becoming preoccupied with the trivial matter of whoshould be the subject of the next statue. However, there is ultimatelya happy ending with the swallow and Prince receiving recognition andacceptance from God, for in my garden of Paradise this little birdshall sing for evermore, and in my city of gold the Happy Prince shallpraise me. The relationship between Prince and Swallow does havehomoerotic undertones, with the Swallow often read as the dandycharacter, in this case fascinated by the beauty of the statue. Thehomoerotic aspect of the tale culminates in a kiss between the two,but you must kiss me on the lips, for I love you. If we are toaccept a homoerotic reading of The Happy Prince then accordingly wecan read the ending as Wilde voicing his opinion of homosexuality asnatural and literally giving such a lifestyle the blessing of God. InThe Portrait of Dorian Gray, Wilde uses a similar technique whereby hepresents the character who can most easily be classified as homosexual,as the very character who is the most morally sensitive. However, a homoerotic reading of The Happy Prince, indeed of anyof Wildes literary works, relies on and is substantially influenced byour knowledge of Oscar Wildes personal life. This brings us to thefinal chapter of this dissertation, a chapter that will analyse therelationship between the writer and the narrator, and the effect ofthis relationship on aesthetic and homoerotic readings of Wildesfiction. Chapter 5 -Wilde the storyteller So far we have looked mainly at The Importance of Being Earnest andThe Picture of Dorian Gray and we have touched upon the fact that it isoften difficult to read such works without considering the personallife of Oscar Wilde. A Victorian audience would have held someknowledge of Wilde, considering that he was an extremely sociablecharacter with social critiques often published in Reviews of thetime. And of course, his two years imprisonment would have beenwidely publicised and consequently common knowledge. There is no doubtthat it was around this time that heterosexual readers would havestruggled to accept the links that Wilde makes between aestheticism andhomosexuality, fearing a similar fate merely for sharing thecharacteristics of aestheticism. Reading in the twenty-first centurywe now have the privilege of even further information on Wildesprivate life. The nineteenth century novel largely focused on the third person,omnipresent narrator, and in doing so inevitably drew attention to thepersona of the narrator and subsequently to the author himself. Wildeis no exception to this rule and it is difficult not to see his owncharacter or what we believe to be his own character shinethrough. As suggested in the previous chapter, it is not just thecondition of the artist to worship beauty, but also to allow his owncharacter and desires to become a part of his art. In the case of ThePortrait of Dorian Gray, our knowledge of Wilde as a dandy and aesthetecolours our interpretation of characters such as Lord Henry andDorian. Knowing what we do about Wildes extravagant social life andturbulent relationship with the press, lines such as You dont wantpeople to talk of you as something vile and degraded spoken to Dorianby Basil, begin to take on more significant meaning. With this quotein mind, it is possible to read between the lines and observ e a feelingin Wilde that he wishes somehow, outside of his literature not to belooked upon as vile and degraded. This desire for acceptance isoffset by the more typical tongue in cheek wit of Wilde, the use ofwhich diverts attention from serious emotions. This type of humour canbe seen in Dorians retort to Basil on hearing gossip, I love scandalsabout other people, but scandals about myself dont interest me. Theyhave not got the charm of novelty. It seems that Wilde isdeliberately poking fun at himself and joining in with the popularridicule that was present in Victorian society about the life of theaesthetic gentleman. Many cartoons and caricatures were in circulationat the time that sought to make fun of the extravagances of theaesthetic lifestyle. Numerous satirical works were also released,worth particular mention is Robert Hitchens Green Carnation, asatirical novel on decadence influenced by the authors beliefs inaestheticism as unconventional and exhibitionist. The Importance ofBeing Earnest also has a farcical tone throughout, which often servesto allow the reader to question Wildes authority, whilst also allyingthe comments of certain characters with Oscar himself. For example, aline of Gwendolen appears to point directly at Wildes personal life,And certainly once a man begins to neglect his domestic duties hebecomes painfully effeminate, does he not? And I dont like that. Itmakes men so very attractive. However, many critics would argue that the very definition of fictiondictates that the reader should accept that there need not necessarilybe a connection between narrator and author. In the same way that anactor does not need to have experienced a similar history and lifestyleto the character they play, so too should we allow the writer to assumedifferent characters. This very point crops up in the story of ThePortrait of Mr W.H whereby the narrator argues that To say that only awoman can portray the passions of a woman, and that therefore no boycan play Rosalind, is to rob the

Comparing Ulysses and American Beauty :: comparison compare contrast essays

Ulysses and American Beauty      Ã‚   In the "Nausicaa" chapter of James Joyce's Ulysses, a virginal exhibitionist, Gerty McDowell, flashes her "knickers. . .the wondrous revealment, half-offered like those skirt-dancers" at Leopold Bloom, igniting his sexual fireworks on a beach in Dublin (366). In a film set almost 100 years later in an American suburb, another virginal seductress flips her dance skirt, giving admirers a peek at her panties, and inspires Bloom's modern incarnation, Lester Burnham, into a similar burst of auto-eroticism.    The "metempsychosis" of Leopold Bloom into Lester Burnham isn't the only astonishing similarity between Ulysses and American Beauty. When screenwriter Alan Ball accepted the 2000 Golden Globe and Academy Awards for his screenplay of American Beauty, he owed a substantial debt--albeit universally unnoticed and, as he claimed in a telephone interview, "unintended"--to Joyce's masterpiece, the book chosen just months earlier by the Modern Library editorial board as the "best novel" of the Twentieth Century.    Yes, the ending of American Beauty represents a major departure from the plot of Joyce's novel--but an explicable one in a modern update of the Ulysses saga. Late twentieth-century audiences, who have become desensitized to escalating media violence over the past 100 years and have, in fact, developed an appetite for gore, require a bloody resolution. Despite the ending, we are left with striking reincarnations of Irish urbanites into suburban American personalities.    Consider other parallels: heroes Leopold Bloom and Lester Burnham (same initials, LB) are both middle-aged, middle-class, mediocre, unappreciated admen (Lester describes himself as "a whore for the advertising industry"[49], neither of whom has had sex with their wives in years . Ultimately both Bloom and Lester yearn to regain the past unity and warmth of their homes.    Bloom muses, "I was happier then" and fantasizes he could "somehow reappear reborn" to his marriage bed with wife Molly (728) while Lester tells us, "That's my wife Carolyn. . . . We used to be happy" and vows, "It's never too late to get it back" (2, 5). Both also feel displaced by a growing estrangement from their teenage daughters: Bloom's surviving child, Milly, and Lester's only child, Jane.    To compensate for their non-existent sex lives, both Leopold and Lester turn first to solo sex in the bath (or in Lester's case, the shower) and both enjoy adulterous, guilty dreams of unorthodox sexual practices, often accompanied by flower imagery.

Childcare system Essay

Many parents that have kids want to stay at ome during the early years of the children’s youth, but after those years they can’t afford to go back to work. Over 50% of moms that usally stay home and want to go to work but just can’t afford to acording to Ms. Truss. About 17% of moms that did work couldn’t earn enough to be able to have money that would last awhile. â€Å"While 12% cited a lack of job opportunities.† Ms. Truss believes that stuff like this shouldn’t stop people from helping the 52% of mom’s find an affordable childcare so that they can go out and looks for an affordable job. Mrs. Truss wants to have a deregulated childcare system, unlike the other childcares, to have a sinle nursery double with the amount of children they are responsable for. â€Å"Anand Shukla, Chief Executive of the Family, Parenting Insitute, and Daycare Trust wonder if carers and the self-employed will be eligible for this financial support and said something about the devil will be in detail†. The Labour has warned if they cut the nursery staffing levels, it could threaten child safty of the children that are being taken cared of while there parents are working. If stuff like this keeps happening, and they do cut nursery staffing levels, i think the problem would get worse, kids might be killed from carlessness from the lowered class nursery staff, more parents would stay home to protect there kids. If they want to provent stuff like this, they can’t cut the nusery staffing level and have to find something that is less important they can cut to be able to let mothers keep there jobs and so there kids can be safe. They could cut off stuff like entertainment or stuff like amusment parks, just some examples but in my oppion, taking care of the future generation is more important than these two examples. As long as they don’t take drastic messures like cutting nursery staffing levels, the future for them looks pretty good as long as they cut stuff of less important value.

Humans Effect on the Environment essays

Humans Effect on the Environment essays The Effect of Humans on The Environment The Greenhouse Effect/Global Warming The greenhouse effect is the rise in temperature that Earth experiences. Global warming is an increase in the earth ¡s temperature due to the use of fossil fuels and other industrial processes leading to a build-up of 'green house gases ¡. Water vapor, nitrous oxide, carbon dioxide and methane trap energy from the sun. These gases contribute to the greenhouse effect. The carbon dioxide comes mainly from burning fossil fuels in power stations. The nitrous oxide is released from a fertiliser used in agriculture. The extra methane is produced in coal mining, natural gas production and distribution. All fossil fuels when burned produce carbon dioxide. The graph shows how much each gas contributes to the greenhouse effect, taking into account how much of it there is and how much and how radiation it can absorb. If it weren ¡t for these gases the heat would escape from the Earth into space. These gases warm our world, without them Earth would be about 60 F cooler, therefore Earth would not be warm enough to live in. However, if the greenhouse effect becomes stronger, it could make the Earth warmer than usual causing problem for plants, animals and humans. The actual rise is not very much but the Earth ¡s ecosystem is very fragile and small changes can have large effects: h Melt icecaps, which leads to pack ice. h Sharp fall in grain crop yields. h Failure of anchovy fisheries. h Short wet winters, long dry summers. h Rise in sea level, which leads to flooding. h In some places it will become, more humid than before and more drier than before. The serious worry is that the rising sea levels from the melting polar ice caps could severely flood many countries. Reducing the use of fossil fuels would considerably reduce the amount of carbon dioxide produced. This can be achieved by us...

How to Optimize Your Content Marketing Strategy [PODCAST]

How to Optimize Your Content Marketing Strategy [PODCAST] Content marketing is an essential to today’s start-up business. It is how you and your company find your voice in a sea of similar and perhaps larger companies. But, what do you do when your online content isn’t getting the attention you need? How do you create the content that is going to get your business results? How can you make content marketing work for you and your business? Len Markidan, the guy in charge of Groove HQ’s marketing department has some basic tips to improve your content. Groove HQ got its start six years ago, but the path to success was rocky.   Len and his team tried numerous types and styles of content for their blog, but nothing was working. So the team did their homework, they looked at companies like Kissmetrics and Unbounce, then they reached out to the companies. Their outreach was a big help. What they learned from the process became invaluable. Groove HQ found an audience with their blog A Startup’s Journey to $100,000 in Monthly Revenue. If you are having trouble with your content marketing, then Len can help you get a better perspective on the situation. Groove HQ’s rough start and how Len and his team found the problems. Why the best story to tell, is your story. The winning framework Len uses to create Groove HQ’s content. How your audience can help you find the right content. The best method to create content with a team. Links: Groove HQ A Startup’s Journey to $100,000 in Monthly Revenue Blog If you liked today’s show, please subscribe on iTunes to The Actionable Content Marketing Podcast! The podcast is also available on SoundCloud,  Stitcher, and Google Play. Quotes by Len: Hire people that you can trust, pick a tool that you trust and just keep everybody on the same page, and then back off. You have to give each blog enough oxygen and attention to succeed, otherwise it’s going to be very obvious in your results which one youre treating as a secondary blog. We had a product, but we didn’t really have a thoughtful or effective marketing strategy at all.

buy custom Multinational Acquisition essay

buy custom Multinational Acquisition essay The global marketing platform is currently experiencing numerous mergers and acquisitions. Mergers usually involve companies, which can achieve more per company if united as compared to operating alone. The concerned firms may or may not be dealing in the same line of products or services (Cartwright, 2006). On the other hand, acquisitions involve complete purchase of a company by another company. This includes all subsidiaries of the acquired company, and any legal rights, entitled to the use and production of material, or use and dissemination of information, originally belonging to the acquired firm. On May 10, 2011, Microsoft announced its intent to purchase Skype for $ 8.5 billion and the deal was finalized on 13th of October, 2011 (Cartwright, 2006). In this paper, the acquisition of Skype, a Voice over Internet Protocol telephony as well as software company by Microsoft, the global leader in computer software development and sales in the year 2011, will be critically looked at . Microsoft Microsoft is a multinational company that develops a wide range of computer products, including the manufacture and licensing of computer software. It is an American Company, whose headquarters is in Redmond, Washington. The firm is the dominant manufacturer of Computer Operating Systems as well as the Office Suite markets. Recently, it has also ventured into the Video gaming market with its Xbox 360 as well as cell phone operating systems with the Windows Phone OS. Microsoft, registered on 4th of April, 1975, is owned by Paul Allen and Bill Gates. Its first operating System (OS), Xenix, was developed in 1980 and was later followed by the MS-DOS (Micro soft- Disk Operating System). In 1984, Microsoft jointly with IBM developed a new operating system, OS/2, and, at the same time, released Microsoft Windows, which was advanced from MS-DOS with graphical capabilities. It became a public company and staged its first Initial Public Offering (IPO) in 1986. Later, Microsoft developed the Wi ndows NT platform in 1993 that took the computing platform higher to 32 bit from the original 16 bit (Allan, 2001). Microsoft produced new systems, such as the Windows 95 OS in 1995, which also came bundled with new internet and networking capabilities, particularly Internet Explorer and MSN. In 1996, Windows joined with NBC Universal to start the 24 hour cable news station MSNBC. Microsoft released Windows XP operating system in 2001, followed in 2007 by Windows Vista. The company released a yet new operating system, Windows 7, in 2009. The company also launched a new version of its older Mobile phone operating system, Windows Mobile with the Windows Phone OS in 2010, which enable it to compete with rivals Apple and Google mobile applications (Cartwright, 2006). Financially, Microsoft made profits of $ 5.2 billion in Q1 of 2011, making less than Apple Inc. for the first time in 11 years. That indicates how dominant Microsoft has been in its industry. Microsoft is rated by Moodys, Standard and Poors as AAA Company with an asset base of $ 41 billion. Recently, it releases a corporate bond totaling $ 2.25 billion with relatively low lending rates (Arthur, 2011). Skype Skype is a multinational company that was originally created by Niklas Zennstrom in 2003 and acquired by Microsoft in 2011. It is software as well as an Internet communications company with an estimated more than 500 million users accounts (Ryan, 2011). It uses the Voice over Internet Protocol (VOIP) to enable voice and video calling worldwide. Skype calls are free to other Skype users, while calls can also be routed to the traditional phone lines and mobile phones and bills settled trough a user held debit account platform. Additional services offered through Skype are file transfer and video conferencing. It is a peer to peer network system that uses processing resources on any computer with Skype installed, raising bandwidth license issues with multiple companies and institutions. Although Skype calls and calls to mobile and landline numbers were available when the company began, the newer video calling as well as video conferencing capabilities were incorporated into Skype in 2006 for Windows and Mac OS X operating system clients. Linux OS clients received the capability in 2008. Skype version 5 beta for Windows allows video conferencing with up to 5 persons, while audio conferencing supports talks with up to 25 people. Skypes main competitors are the instant talk and messaging providers such as Google Talk, Google voice, Facetime, Yahoo messager, Windows live messager and iChat. It also has competitors in the VOIP and Telephony industry such as Ekiga and Google voice (Cartwright, 2006). Acquisition of Skype by Microsoft Microsoft expressed its interest to acquire Skype on May 10, 2011, for a total cost of $8.5 Billion. The bid was $2.5 billion higher than the amount paid by Microsoft to acquire aQuantive in 2007. While the bid to acquire Skype was definitely a positive strategy that would bring Microsoft about 660 million internet users and give it a leading position as far as internet communications and advertisement is concerned, the price Microsoft was willing to pay was way higher than the perceived current worth of Skype. Skype had earlier been acquired by eBay for $2.6 billion in 2005. In 2007, eBay gave up its 70% stake in Skype after its intended profitability through use of Skypes telephony services failed. Microsoft, on the other hand, has been experiencing losses in its online services division prior to acquiring Skype. Its online services division, which includes its search engine, Bing, has reported an $8 billion in the last six years, having been profitable the last time in 2005 (Arthu r, 2011). On the other hand, Skype had not been making sustainable profits, owing to the nature of its operations. At the time of its sale, it was relying only on its E-mail service and calls to landlines and mobile numbers for profits. It was estimated to have debts above $ 886 million, which Microsoft would assume in its purchase. In 2010, Skype had revenues of $889.8 million, and a loss of $7 million. Mobile Telecommunications operators have been reluctant to route Skype calls, owing to the competitive nature of data linked calls as compared to their expensive voice connections, a factor that further reduced its revenues. Silver Lake, a company that purchased part of Skype from eBay in 2007, made a $2 billion profit from the sale of Skype to Microsoft. The sale of Skype to Microsoft was concluded on 13th of October, 2011 in cash, making Microsoft the sole owner of Skype, and its former CEO Tony Bates becoming the president of the Skype division of Microsoft (Poletti, 2011). Acquisition Analysis The value of $ 8.5 billion, for which Skype was purchased, was famously criticized by analysts around the world as being on the higher side. Firstly, Skypes true value, as is usual with most others services companies, could not be immediately fixed. Save for its fixed assets and liabilities, the rest of its value could only be established through non-cash aspects, such as its average gross revenues, market size, and its current users. Skype had initially been purchased and partly re-sold by eBay in 2007. A 39% stake in the company was taken by Silver Lake. During the sale to Microsoft, Silver Lake annouunced that it would make $2 billion in profit. Based only on this statement, it can clearly be seen that Silver Lakes investment of $1 billion in 2007 was tripled after the sale. That means that Skypes value during its purchase by Silver Lake in 2007 was less than $3 billion or approximately 2.56 billion dollars. It had obviously grown between 2007 and 2011, and a reserved estimate for the value of its growth can be obtained, taking the following indicators Continued revenue growth of 20%, based on the market trends around the time. A rise in pre-tax operating margin to 30% in the next ten year period A decline in its cost of capital to about 10% in the next 10 years, owing to the rapid change in technological advancement. Taking these factors into consideration, it can be assumed that Skypes value at the time of sale would be about $ 4 billion. This is less than half of the amount for which it was acquired. However, other factors such as potential for growth, competitive edge status as well as its means of survival, would have led Microsoft to agree to the overrated price. It could also be true that in achieving Skype, Microsoft was little concerned with its value but was purchasing the brand name and the 633 million customers. In either case, it can be agreed that it is very difficult to obtain Skypes value and its purchase price was based largely on the buyers intended purpose upon acquisition. This was the chief challenge during the sale as well as in the financial analysis. This challenge is further amplified by the fact that Skype was a private company and was, therefore, not obligated to make public its financial and audit statements. All its perceived value approximations were based entirely on its initial sale prices and other market indicators. Intangible Assets in the Purchase It maybe agreed that Skype sale to Microsoft was more to do with good will and intangible interests that it was to do with its financial statement. Microsoft had already invested huge amounts into its internet and services division, which was running services similar to those of Skype, even during the time of acquisition (Cartwright, 2006). In addition, Microsoft also acquired the Skype logo and trademark, making it easier for customers and other users to find continuity in using Skype. Skype retained most of its employees and its headquarters. It only became a separate division of Microsoft, headed by its former CEO. Issues, related to the Acquisition After the purchase, there was a total change of ownership of Skype from its initial owners, mainly Silver Lake and eBay, to total ownership by Microsoft. There was no name change as the company only shifted its ownership. There were minor structural changes too, since most employees were retained, and the locations of its various offices were retained too (Arthur, 2011). It can be said that the acquisition did not use the International Financial Reporting Standards (IFRS), or United States Generally Accepted Accounting Principles (US GAAP) , which requires an organizations true position be reflected in the books of accounts, specifically the financial statement. This was partly due to the public unavailability of Skypes records as well as the nature of Skypes business, which makes it hard to fix its value (Cartwright, 2006). In conclusion, it can be seen that there is a need for companies to adequately adhere to the aspects of good governance during acquisitions. Failure to do this may lead to unsustainable growth of the concerned firms, both in the short and long-run. Buy custom Multinational Acquisition essay

Ethics in Public Administration Essay Example | Topics and Well Written Essays - 2250 words

Ethics in Public Administration - Essay Example It is commonly described as the study of moral conduct. The term 'moral' as here used covers all conduct which is subject to the judgement of right and wrong. The distinction implied is not between moral and immoral, right and wrong, but between moral and unmoral, i.e., between conduct which has a moral aspect and that which has none. Ethics in public administration suffers from the absence of a theoretical framework to supply focus, definition, background, and a common frame of reference for the research and practice of ethical administration. There seems to be little disagreement that such a framework is lacking. In 1980, Dwight Waldo described the state of moral and ethical behaviour in public administration as "chaotic" (Waldo, 1980: 100). In 1983, James Bowman stated that "in both practice and theory, the ethical implications of administrative and political conduct remain largely unexplored" (Bowman, 1983a:71). Most recently, John Rohr, in presenting a "state of the discipline" report at a major conference, states that "throughout this report I have stressed the diversity in the ethics field; a diversity that comes close to chaos" (Rohr, 1986a:53). Utilitarianism Utilitarianism Utilitarianism is the idea that moral worth of an action is determined solely by its contribution to overall utility: that is, its contribution to happiness or pleasure as summed among all people. It is thus a form of consequentialism, meaning that the moral worth of an action is determined by its outcome. Utility, the good to ETHICAL FRAMEWORKS 4 be maximized, has been defined by various thinkers as happiness or pleasure (versus suffering or pain), although preference utilitarians define it as the satisfaction of preferences. It may be described as a life stance, with happiness or pleasure being of ultimate importance. Utilitarianism is described by the phrase "the greatest good for the greatest number of people". Therefore, it is also known as "the greatest happiness principle." Preference Utilitarianism Preference utilitarianism is one of the most popular forms of utlilitarianism in contemporary philosophy. Like other utilitarian theorists, preference utilitarians define a morally right action as that which produces the most favourable consequences for the people involved. However, preference utilatairans interpret the best consequences in terms of ;preference satisfaction'. This means that 'good' is

CJUS 330 DB2 Essay Example | Topics and Well Written Essays - 250 words

CJUS 330 DB2 - Essay Example This is through hiring public defenders for them. The government ensures that traditional public defenders get paid so that indigent defendants get representation in court. Though not established in the constitution, it is paramount that the government provide defenders for the destitute, free of charge. The expenses incurred will be catered for by the government (Neubauer & Fradella, 2010). This is as the agreement between the parties dictates. In order to maintain the indigent defenders’ rights and privileges, one has to be aware of what they are going through (Howell & Yedid, 2003). They must be going through difficulties since they cannot raise an attorney’s fee when the need arises. Understanding people can put one in their position, and thus, represent them as they are supposed to be. In conclusion, it is imperative that all those in positions that can help others play their roles as required. If they cannot perform these basic functions, then they should not be in these powerful positions. The rights and privileges of individuals may be maintained through the observation of some of the laws that do not necessarily protect the rich. In doing this, everyone might end up benefitting from the justice system (Howell & Yedid,

LEGAL IMPLICATIONS IN HUMAN RESOURCES SESSION LONG PROJECT 1 Essay

LEGAL IMPLICATIONS IN HUMAN RESOURCES SESSION LONG PROJECT 1 (USAA)EMPLOYMENT LAW - Essay Example The company has its head quarters in San Antonio Texas and it is one large single occupancy office building. The company is not a unionized company. USAA has a strong and well developed human resources team which deals with all the employee needs. The company currently is a home for almost twenty two thousand employees. The human resources team is well developed and well equipped to meet the needs of the employees. The company deals with a number of different products which are highly competitive in nature and are focused mainly for the military families. The company also offers a number of products to the general public as well. These include, investments, financial planning, life insurance and also other banking products like savings accounts, checking accounts and also CDs (USAA). The main aim of this organization however has solely been to provide financial strength and a strong foundation to the military families which depend on the company for higher and superior products and s ervices. USAA and Laws: The changes in the law and major court decisions leads to a few changes in the overall organization. USAA can be impacted by the changes in the law.

The language of health informatic Essay Example | Topics and Well Written Essays - 500 words

The language of health informatic - Essay Example ts or characteristics of the database includes the ability for it to have a simple decoding formula whereby all parties on the system can easily decode data that are put in the system and use these data in a way and manner that best meets their needs. Again, the data ought to be highly accessible. Accessibility in this case would touch on the need to ensure that the programming is designed at the level and standard of the user’s information technology knowledge. Finally, it is important to structure the database in such a way that even though it can be accessed easily, it cannot be easily penetrated by intruders. That is security should be a key factor. Database would be found to include among other things, personal data that touches on name, age, gender, religion and insurance information of patient (Gillespie et al, 2009). This is followed with patient profile, which includes data on aspects of the patient daily life including occupation, education, marital status, children, hobbies, worries, needs, patterns and habits (Tune and Salzman, 2012). Furthermore, the database looks at medical history of the patient as well as physical examination and laboratory data. When it comes to these areas, chief complaints, area of present illness, past medical history and medication are clearly spelt out on the database. The database could therefore be said to be an electronic system that makes the identification of the patient easier for the practitioner. Indeed, it is worth stressing the point that having a database that merely spells out and possesses the characteristics and medical data above is not enough. Rather, these data must be presented and handled in such a way that it represents the best form of utilization for the health practitioner. It is in such regard that the need to have a uniform coding and standardization of the data becomes important. In a multi-facility regional hospital such as this one, data that are uniformly coded in a single system would bring a