The concept of Locus of control which was made by Rotter in 1966 refers to individual differences in people’s beliefs and expectations about what controls events in their lives. There are two extremes: internal locus which is the belief that what happens is largely under one’s own control (associated with the belief that one can control much of one’s life and succeed in stressful or difficult situations). The other extreme is external locus which is the belief that what happens to one is controlled by external factors such as luck and fate (associated with the tendency to face stressful situations with a more passive and fatalistic attitude). There are a few studies that have looked at the relationship between locus of control and independent versus obedient behaviour. Holland in 1967 investigated this relationship when he ran various variations of Milgram’s procedure.
2 Contemporary postmodern artists create work that ask us, as individuals, to reassess our cultural values; whether it be ideas we endorse or truths we hold concrete to our societal beliefs. Postmodernists aim to have us contemplating dominant forms we take for granted. Alexander McQueen and Barbara Kruger are prime examples of these artists, aiming to surface raw beauty and truth by undermining seemingly solid cultural precedents. They give us, as their audience the responsibility of determining for ourselves, what is beautiful and honest in an effort to encourage individual interpretation and rejection of accepted societal conformity. Of all the movements in art and design history, Postmodernism is perhaps the most controversial.
Bradbury’s writing of a futuristic dystopic text indirectly illustrates the concerns of his historical period, and potentially his personal experience as a writer. Conversely, Senior demonstrates her contrasting positive personal experience within an urban environment, and the more ingrained perspective towards technology present in her society and time period. Thus both texts are shaped by the composer’s diverse
The distinctively visual is used throughout peter goldsworthys novel ' maestro ' and the painting By edward munch ' the scream ' 1893. there is some overlap between the distinctively visual techniques used by these writers and painters. This is done through the use of visual imagery, metaphor, exaggeration and the use of colour. The extended metaphor of peter goldsworthy “to describe the world is always to simplify its texture, to coarsen the weave: to lose the particular in general”, portrays that once you try to represent something, you lose something of its real life essence and that the act of writing about something in the world simplifies it. Both texts revel important insights into human experiences by showing the reader how the character
2)The new urban Sociology has developed from an earlier theoretical work known as political economy. Who are some of the earlier Sociologists with this theoretical perspective and what are their views? Why are they significant to help our understanding of cities? What is meant by uneven development, what causes it to occur in metropolitan regions and what are its effects on metropolitan growth? Give examples of uneven development from an area where you live.
Jian Wu ESL 15/ Dr. Adams The art is all over the world, there are so many different type of art, such as painting, sculpture, and graffiti. People have different idea about the art; like different type of arts. Dorothy Allison in her essay “This Is Our World” shows how these types of art provokes. She points out about art were well made because of her stories. Allison proved the art is subjective.
Ethnocentrism Zoreda A. Kennon AIU Online Abstract This essay covers a comprehensive overview of the concept of ethnocentrism. Through the reaction of the film, The Return (2003), my view of cultural differences are reflect that what I perceive as a superior culture is not the same in other countries. Through personal experiences of living and travelling abroad, adapting to local customs makes the experience exceptional. Coverage of how the effect of ethnocentrism with individuals, societies, and how ethnocentrism effects multinational corporations (MNC’s) is been noted and analyzed how others perceive cultures that are different from their own. When MNC’s learn to adapt to host-nation’s cultures, acceptance for change is easier for them to adapt.
Along with the exhibition came a catalogue adorned with a schema, produced by the curator and director of the gallery Alfred Barr Jr. The schema attempted to organise important aspects of art in the late 19th and early 20th centuries into a coherent linear history. The history he outlined excluded social, political and economic factors in favour for a stylistic interpretation that focussed on formalist qualities. I argue that Barr made this decision as an attempt to remove the avant-garde from adverse political interpretation, therefore protecting it from threat of extermination. I also point towards the influence of Barr’s schema on art criticism from that time, suggesting that it was this model that set the terms for discussion in the formalist focus of Clement Greenberg.
Referencing the writings of Rem Koolhaas and Gerard Wacjman, as well as the artwork of Marcel Duchamp, this project argues that the spatial quality of such places causes people to be disorientated and exhibited and that the person/ object who has most control and intimacy is not the spectator but the object of desire, on display, behind the glass. In dialogue with reading, writing and drawing, a model has been built to represent an example of a public space of this kind: The Overgate Centre in Dundee. The model is a transect of the space, and it has been photographed to investigate a dialogue between inside and outside. A photographic
' Writing the Nation the “Other” Way: Sara Joseph’s Alahayute Penmakkal' Sudhakaran C. B It is widely agreed that the dialectic of the local and the global has displaced the traditional opposition between the particular and the universal and contemporary discussions on the political, socioeconomic and cultural issues are governed by postmodern ideas of global governance, global citizenship and the “end” theories. The postmodern has also brought with it a heavy intellectual baggage of the image and architecture accompanied by a perceptible decline in the interest of the literary mode. In such an environment it may seem ironic that one dares to think of “obsolete” notions such as “nation” and “nationalism” and a literature that attempts to not only narrate the nation “allegorically” but also to map the history of nation from a subaltern perspective(. Postcolonial theories have emphasized the links between literary texts and concepts such as “nation” and “nationalism” and there is general agreement among writers as varied as Ernest Gellner, Miroslav Hrosch, Benedict Anderson, Eric Hobsbawm, Timothy Brennan, Adrian Hastings, Clifford Geertz, and Homi Bhabha that the role played by imaginative literature in the construction of a nation cannot be ignored. So long as the nation is believed to be a “discursive formation,” and, cultural expressions are recognized as participating in the formation and growth of a nation, in the context of the global dispensation where the status of culture and its consumption is radically different from what it was in the modernist period, it is not irrelevant to look into the role played by literature in the construction of a form of resistance against the hegemonic forces that dominate the cultural sphere of the contemporary world.