Saturday, December 28, 2019

Native American Religions - 1160 Words

Over the century Native American religions have been repressed and misunderstood. There has been little room for them to actually be able to explain their rituals and why it is important to them as a society. This ignorance’s has resulted in the loss of land, false practices with sacred objects, and a lack of education within the rituals of indigenous religions. The indigenous population deserves support to preserve their practices and language. Since most of these religions have been repressed for so long many elders do not wish to teach their kin about their religion in fear of rejection from the modern society. The 21st century has started to transition to a more sympathetic society and I believe if there is more awareness directed†¦show more content†¦There is a lack of sympathy when an individual addresses a problem because without the support it is seen as a selfish action from a group rather than something that could benefit them. New age spirituality has also infringed on Native American practices. Many people steal aspects of Native American religions and do not understand the full extent of how offensive it actually is to use certain objects for the individual’s spirituality. There is a coalition out there that does not want anyone to use any of their sacred objects for their selfish spiritual experience (Religious Appropriation Tinker, 2013). It is understandable why this group rejects an outsider’s use of sacred objects, since their practices have been rejected for so long the resentment towards modern society continues to grow, as does the lack of education on the subject. Even though spirituality is an important part of a humans life and it is wrong to ban an individual to use the object because there is no right or wrong answer when it breaks down to spirituality. There should be an understanding of the object before the individual decides to take This is a difficult problem to find a solution since it is impossible to monitor businesses and regulate them so they do not sell any sacred objects. There should be a further education from the indigenous population on what sacred objects areShow MoreRelatedAmerican History : Native American Religion1615 Words   |  7 PagesAmerican History: Native American Religion The North American community in today’s worlds has embraced Christianity, Muslim and other popular religious beliefs. Finding the ancient religious practices in action is rare, but not impossible. The communities had their own believes concerning gods and philosophies of good and evil before they were colonized. The communities have lost most of their beliefs and practices as they took place in the earlier community to popular religions which were introducedRead More Native American Religion Essay2452 Words   |  10 Pagesunderstanding created tensions, between Native Americans and Europeans, and later between Native Americans and Euro-Americans, that eventually erupted into open warfare and resulted in great bloodshed between cultures. For the Lakota peoples of North America, cultural misunderstanding culminated with Euro-American misinterpretation of the purpose of the Native American Ghost Dance with its related religious beliefs and the massacre of peaceful Native Americ an Lakota people as they were attempting toRead MoreEssay on Native American Tradition and Religion1319 Words   |  6 Pageshabitats in North America, different native religions evolved to match the needs and lifestyles of the individual tribe. Religious traditions of aboriginal peoples around the world tend to be heavily influenced by their methods of acquiring food, whether by hunting wild animals or by agriculture. Native American spirituality is no exception. Traditional Lakota spirituality is a form of religious belief that each thing, plant and animal has a spirit. The Native American spirituality has an inseparableRead MoreThe Differences Between Native American Religion And The Religion Of Settlers858 Words   |  4 Pagesbehavior, and religion. Although the other topics hold their own level of importance, religion is quite important to consider since it impacted the majority of Indian actions and customs. In early America, most Europeans were Christians of different denominations. To the colonists, the differences in their religion were hardly as important as the differences between native American religion and the religion of settlers. This fact coupled with the fact that Europeans wanted native lands made themRead MoreIndigenous Religions : Native American Indians Essay823 Words   |  4 PagesAround the world, many indigenous religions exist and share their beliefs and culture with other individuals around them. Indigenous religions are unique because in the world today, a lot of people can go back in history and reveal that they came from indigenous people. When examining indigenous religions, there are a variety of cultures within this religion, but specifically looking at the Native American Indian tribes, there were many ways they practiced their culture in order to serve a purposeRead More Religion and Spirituality in Native American Culture Essay1614 Words   |  7 Pages Religion amp; Spirituality in the Native American Culture When the topic of the beliefs of the Native American culture arises, most people have generally the same ideas about the culture’s beliefs: they are very strong. Being part Native American myself, from the Cherokee tribe, I was raised to know my culture pretty well and follow the same beliefs that they teach and follow. One thing f that my grandma, who is the great-granddaughter of a Cherokee Chief, instilled in me is the importance ofRead MoreNative American Cultures, Tribes, and Religion Essay863 Words   |  4 PagesEven though there are numerous Native American tribes and cultures, they all are mostly derivatives of other tribes. For instance, in the southwest there are large number of Pueblo and Apache people including, the Acoma Pueblo tribe, Apache Chiricahua, Jemez Pueblo, and Apache Western. In this section, largely populated groups in certain regions (northwest, southwest, The Great Plains, northeast, and southeast) religious ideas, practices, and impact on American culture will be discussed. FirstRead MoreNative American Religion : Medicine And Spiritual Healing1694 Words   |  7 PagesErika Lenis-Abril REL-337 5/10/2015 Native American Religion: Medicine and Spiritual Healing Native American traditional medicine and spiritual healing rituals go back for thousands of years, these traditions often focus on different variations of alternative medicine. This knowledge is passed on throughout generations, many of the tribes learn that by mixing natural plants such as herbs and roots they can make remedies with healing properties. It is believed that being healthy is when peopleRead MoreComparative Religions : Native Americans And The Africans2269 Words   |  10 Pages Craft Week 2 Comparative Religions W01 Dr. Tim Davis Question 1: While the Native Americans and the Africans inhabited two different continents, their belief system has a plethora of similarities pertaining to their core values. The basis of their religion also, in some ways, epitomizes modern day religion such as rites of passage. Their differences are shallow in context when it comes to what they view as sacred and holy and including religious rituals that are performed for a specific reasonRead MoreBenjamin Franklins Red Jacket Defends Native American Religion770 Words   |  4 Pagesspeech â€Å"Red Jacket Defends Native American Religion, 1805.† Ethos, logos, and pathos, along with other rhetorical devices are used by both Red Jacket and Benjamin Franklin, which is very important and can help with informing people, and even persuading them into side with a person during their speech. In â€Å"Red Jacket Defends Native American Religion, 1805.,† Red Jacket uses several rhetorical devices in his speech, where he defends the Native American and their religion. Red Jacket states in his speech

Friday, December 20, 2019

Children Should Be Too Great For Their Parents - 886 Words

†¢ In most cases, the child has to change the geographical settings, schools, friends, teachers and fellow students. †¢ They are unable to deal with the emotional trauma that is brought about by the divorce, and they do not know whom to turn to because of the divorce, which makes them angry, depressed, and at times develop an aggressive nature (Brown, 2010). Research shows that children suffer emotional trauma in the event that there parents’ divorce. According to Steven Earll who is a licensed counselor and therapist, he states that; â€Å"Children (and adult children) have the attitude that their parents should be able to work through and solve any issue. Parents, who have given the children life, are perceived by the children as very competent†¦show more content†¦Journal of Marriage Family, 380-86. Brown, S. (2010). Marriage and Child Well-Being: Research and Policy Perspectives. . Journal of Marriage and Family, 1059-1077. Carrier, H., Utz, R. (2012). Parental Divorce Among Young and Adult Children: A Long-Term Quantitative Analysis of Mental Health and Family Solidarity. Journal of Divorce Remarriage. D’Onofrio BM, T. E. (2007). Children of Twins Study of parental divorce and offspring psychopathology. Journal of Child Psychology Psychiatry. Ehrenberg, B. P. (2008). â€Å"The Influence of Parental Separations and Divorce on Father-Child Relationships. Journal of Divorce and Remarriage. Johnson, V. I. (2011). Adult Children of Divorce and Relationship Education:Implications for Counselors and Counselor Educators. Family Journal, 22-29. Kalmijn, M. (2010). Racial differences in the effects of parental divorce and separation on children: Generalizing the evidence to a European case. Social Science Research, 834-856. Klass, J. V., Peros, J. (2014). Custody Criteria: Age-Dependent Priorities. American Journal of Family Law. Moon, M. (2011). The Effects of Divorce on Children: Married and Divorced Parents Perspectives. Journal Of Divorce Remarriage, 344-349. Wijckmans, B. . (2013). Divorce and Adult Children s Perceptions of Family Obligations. Journal Of Comparative Family Studies, 291-310. APPENDICES APPENDIX 1: RESEARCH QUESTIONS 1. Does the divorce of

Thursday, December 12, 2019

Supernatural in Hamlet free essay sample

Supernaturalism is a manifestation of intellectual curiosity. Modernity has prohibited such curiosity with technological inquisition. But while it can be avoided phylogenetically, it cannot be avoided ontogenetically. With modern theatre, this aspect of mythology and the treatment of the supernatural elements, bear a direct inclination towards politics. But this tendency to profess political ideas is not modern but penetrates deep into the ancient world. Shakespeare’s tragedies are flagship plays of all such constitutions. His treatment of supernaturalism, whether in Julius Caesar or Hamlet, has both the political and personal elements. â€Å"Far from being a feudal poet†, observes Wyndham Lewis in The Lion and the Fox,1 â€Å"the Shakespeare that ‘Troilus and Cressida’, ‘The Tempest’, or even ‘Cariolanus’ shows us is much more a bolshevik (using this little word popularly) than a figure of conservative romance. † As a dramatist, Shakespeare was bound to provide entertainment for his audience. But, in Hamlet, his hatred for mere entertainment becomes evident in one of Hamlet’s famous dialogues: HAMLET. Be not too tame neither, but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance: that you o’erstep not the modesty of nature. For anything so overdone is from the pur- pose of playing, whose end, both at the first and now, was and is to hold as ‘twere the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; censure of the which one must in your allowance o’erweigh a whole theatre of others (3. 2. 16-28). This, is what precisely, happens in Hamlet: a play within the play is staged, an extensive decoy, which would reveal the true nature of the king and would be a charge against the rotten state of Denmark. This being established, that a veil works through the subject of the play, where nothing is what it appears to be, we would try to look into the treatment and nature of the ‘supernatural’ elements in the First Act of the play and the role it plays. The supernatural elements in Hamlet have become a risky boomerang from the viewpoint of productions and filmmaking. The risk is much more subjective than technical. 2 The Ghost scene in the play is almost at the precipice of being ‘comic’. â€Å"Ghost music† eerie, unearthly sounds, accompanied by natural wails of humans, animals, of wind and storm ? sometimes sounding so suddenly it jolts the watchers with alarm, often heralds the Ghost’s appearance. â€Å"Stertorous breathing† attended Skinner’s Ghost. A muffled drum accompanied Wilson Barrett’s. Barrault’s silhouetted, slow-motion ghost, Goldsby observed, â€Å"was aided by a muffled drum beat which filled the theatre with the pulsation of the human heart† and a â€Å"high frequency sustained pitch as can be heard on short-wave radio. † Olivier, in his film, also used the heartbeat, and his weird ghost-music was â€Å"painstakingly compounded †¦ from superimposed recordings of fifty women shrieking, fifty men groaning, and twelve violinists scraping their bows across the strings on a single screeching note. † Olivier wanted a sound â€Å"like the lid of hell being opened. † Later theatres, playing Hamlet to audiences increasingly sceptical of the supernatural, have experimented with techniques for enhancing both the mystery and the menace of the ghostly figure. Most simply it has been rendered invisible: is never seen in any of its scenes by the theatre audience, but only by watchers who create its fearful image with their words and faces. It is certainly a difficult ploy for an actor to play the part of something non-existent or metaphysical. We cannot possibly know what the first production of 1603 had, whether they employed the capacity of deus ex machina, but the mere appearance of the ghost on the Elizabethan stage was a feast for the audience. In itself the Ghost is a formidable an ominous figure ? the Elizabethans had never seen a theatre one like it. Possibly Barnardo’s pointing finger picked out the Ghost in the Globe, poised in an â€Å"above† as if suspended in air. In a Swedish staging in 1942, a ghost seemed to float over the walls: â€Å"for the first time on a Stockholm stage the technicians have succeeded in making him a ghost. † (Dagens Nyheter) The concept of time, in the play, and its atrocities modifies itself through both the physical and the psychological dimensions. The stage is set for something sinister and is pushed in parallel to the furtive wordplay. Two tough veteran soldiers, and a clever, sceptical scholar, in the bitter cold, blankly appalled and mesmerized, indeed physically distill’d to jelly by a visitation from the dead. But the Ghost is a manifestation of the suggested supernatural in the play. The whole dome of the play seems open to such visits from the super-terrestrial worlds. If the mere word ‘natural’ is taken in the sense of normality or the general code of behaviour, it defies that definition. â€Å"The Ghost will†, observes Marvin Rosenberg in THE MASKS OF HAMLET , â€Å"have a name: illusion. As long as it is mute, undefined, gesturing ambiguously, it remains darkly and dangerously unfathomable. An image of death amidst life. †3 But time and time again, the political, and mythical nature of the Ghost and Hamlet’s supposed madness has been calculated in terms of degree and balance of the opposites. But the sense of political imagery must not override the personal. Marcellus had told him of the king-like ghost. The Ghost carries a desperate personal need, too, Hamlet being the outlet. It appears as an indication not only of national but cosmic unrest, where the doors of the Earth and Hell are brought face to face yet stumped asunder by intellectual pursuits. The once-sceptical Horatio, haunted by this ghastly entropy of space-time, with unimpeded sophistication, resorts to Plutarchian myth familiar to Elizabethans. The once great Rome, was struck by bizarre omens, a little ere the mightiest Julius fell? The graves stood tenantless, and the sheeted dead Did squeak an gibber in the Roman streets; As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star ? (1. 1. 118-121) Horatio makes to the moon ? Upon whose influence Neptune’s empire stands, Was sick almost to doomsday with eclipse (1. 1. 122-123). The word sick defines this sinister movement further into contemplation: a universe ruled by a Rex Tyrannous ? and this is what happens in Denmark ? And even the like precurse of fear’d events, As harbingers preceding still the fates And prologue to the omen coming on, Have heaven and earth together demonstrated Unto our climatures and countrymen (1. 1. 124 -128). At once, the play is in suspended animation ? two parallel forces of comprehension: the Ghost on one side and Horatio with Marcellus and Barnardo on the other ? almost rub their back in the pursuit of communication. Horatio asks it several questions. But just at the moment of revelation, with a fine melodramatic twist, the cock crows and the Ghost disappear. This withdrawal is not strange, but reiterates the story of the chosen one. The Sphinx’ riddle can only be answered by Oedipus, Excalibur can only be retrieved by king Arthur (King Arthur and the Knights of The Round Table), and Horatio puts it in motion through his speech that makes us look forward into Scene 2: Break we our watch up, and by my advice Let us impart what we have seen tonight Unto young Hamlet; for upon my life This spirit dumb to us, will speak to him (1. 1. 173-176). But before we look further, we must consider the nature of this Ghost. It is, certainly, not a Holy Ghost. It is much more personal than mythological. Ghosts, in the Elizabethan times, were no more motiveless; they had an important social role to play. It appears with a purpose. To the Elizabethans they were instruments of revenge or prophecy. The supernatural was only invoked at the point where natural remedies proved inadequate. This inadequacy is the soil of Hamlet. Throughout the play, in dialogues or in soliloquies, Hamlet harps upon the same strings of inadequacy. The Ghost’s armour is symbolic of the fact that a mere appearance is ‘inadequate’. It asks for a place in Hamlet’s memory: Adieu, adieu, adieu. Remember me. (1. 5. 91). Is it not persuasive enough? There is an instant doubt, whether its darker purpose affects the inner self of Hamlet, which would spring to seek justice with heroic chivalry. Eventually, it doesn’t. Shakespeare is conscious that it is no more the age of the knights. The Wittenberg scholar in Hamlet reasons action. Chivalry, in this Elizabethan world, is replaced by diplomacy. Our Ghost appears, not with the rage of Caesar’s spirit, but with a pitiful face reverberating the loss of value from human life. Although medieval and sixteenth-century treatises on the supernatural indicate a belief in the ability of both angels and demons to walk the earth and to commune with mortals, angelic visits are barely mentioned and all is the matter of demons. Revenge me, it cries. It argues that Hamlet would prove dull if he would not stir in revenging him. Denmark is abused because it has been lied to about â€Å"my death† (my italics). Whatever Hamlet’s beliefs and behaviour in respect to the Ghost as he concludes his first meeting with it, all must be squared with the Prince’s convictions after the mousetrap scene: â€Å"O good Horatio, I’ll take the ghost’s word for a thousand pound† (3. 2. 280-81). The ghost’s truthfulness does not mean necessarily that the spirit is a messenger from heaven. Shakespeare shows explicit intentions on this point, elsewhere. Iago who is a villain himself, does not deck rhetoric’s in his comment on his own demonic nature: When devils will the blackest sins put on, They do suggest at first with heavenly shows. (Othello, 2. 3. 345-46) But if Iago cannot be granted as speaking from the demon’s lair, Banquo at least shows what humans may expect from that world: oftentimes, to win us to our harm, The instruments of Darkness tell us truths, Win us with honest trifles, to betray’s In deepest consequence. (Macbeth, 1. 3. 123-26) For all this knowledge of the lower world Shakespeare found ready corroboration in his sources: The diuel sometimes vttereth the truth, that his words may haue the more credit, and that he may the more easily beguile them. He that would vtter euil wares, doth not only set them foorth in words, but doth also so trim and decke them, that they seeme excellent good. 4 So far so good. But the most significant oddness of the ghost is the direction of his disappearance. We expect an angelic substance to exit upwards. Yet it cries from under the stage. To see it in sinister illumination may also explain the commented strangeness of Hamlet’s retorts to his departed father. The terms of Hamlet’s addresses of his father are perhaps cruel, irreverent at best ? boy, truepenny, fellow, Hic et ubique? , old mole, pioner? yet when he has finished extracting the oath from the others, compassion for his father, dead and perhaps damned, overwhelms him: â€Å"Rest, rest, perturbed spirit! † (1. 4. 183). Unnatural occurrences that accompany the fall or death of kings in Shakespeare’s plays are commonly credited to the great theme of correspondences between the microcosm and the macrocosm which the history of ideas traces from pagan culture to the present. 5 The ghost who prompts Horatio’s observations ushers in a topsy-turvy world. Through usurpation a false king reigns; one from down-under has forced above the legitimate superior, creating an upside-down chain of relations. Through the agency of the ghost ? be it good or evil ? Hamlet is apprised of the serpent â€Å"that did sting [his] father’s life† and â€Å"wears his crown† (1. 4. 40-41). Although the false king, too, destroys Hamlet, his death results primarily from the Prince’s submission to the end that God, not Claudius, has charted for him. He recognizes this premonition: The time is out of joint. O cursed spite, That ever I was born to se it right. (1. 5. 196-197) His preparation for the doomsday is reflected in his readiness: but until he is ready, Hamlet, in order to survive in the topsy-turvy world, must make adjustments. 6 Among them is Shakespeare’s most trusted device: disguise. His disguise is negativity of self-expressions, which is rather psychological than physical. This is negating the order of the mind, through his â€Å"antic disposition†7 a mask: a rhetoric. â€Å"To be† is to be in being; â€Å"not to be† is also to be in being. With this stroke of mastery, Shakespeare has placed the ghost in the correct unity and with proper limit to his function. Hamlet is not driven through the alleys of revenge, blindfolded, which would have marred the potentiality of his character. The ghost is there as an explanatory stimulant to his already reproachful mind. If Claudius is a false king, then there should be a true king. As Dover Wilson demonstrated convincingly, the operative political science in Hamlet is sixteenth-century English monarchical succession. 8 Hamlet is the son of the former king. By law of primogeniture9, the prince is heir to the father’s throne. All begins with Hamlet’s felt but uncertain thought that his uncle has done him wrong: A little more kin, and less than kind. †¦ I am too much in the sun. (1. 2. 65-67) The sheer density of supernaturalism that resorts in Shakespeare’s quill, is apodictic. But as Hamlet proves, supernatural sides with the dramatic modus operandi to utmost precision. Shakespeare may reflect, in Hamlet’s philosophical mood, something beyond the resistance of the scholar to action, to assassinate, to involve in the words, under the well-portrayed supernatural enterprise. It is a psychic inhibition, fallibilism, despair and suffering that he cannot comprehend. He is torn asunder between his knowledge of perceptual judgement and that of a ghost and its narrative. But all knowledge derives by hypothetical reasoning from knowledge of external facts and previous knowledge. Such is with Hamlet. His mind broods over such knowledge as to philosophise action. This incessant struggle between reason and action is reflective of Kant’s theory of practical reason. 10 Within the pathologically affected will of the rational Hamlet we find a conflict of maxims with the practical laws cognised by himself. His rational reasoning is overshadowed by the ambition of a duty, which create its own laws and the process of adjustment is hindered thus. The influence of the supernatural on Hamlet’s maxims and hitherto indecisive mind create imperatives of action, unsupported by his emotions, sobered by rational learning. The depth of Supernatural concepts is abysmal. The elements of psychic and metaphysics, in this play, are too broad to fit into an essay. But having determined the dramatic function and the nature of the treatment in Hamlet, it is time to question it, test its resistances, grasp its openings and its hints, which are never too explicit. The rest is conjecture.