Karnataka Philosophy Essays

Karnataka Philosophy Essays Karnataka Philosophy Paper Karnataka Philosophy Paper Essay Topic: Cry the Beloved Country Ross Gay Poetry The Lord Of the Rings the Fellowship Of the Ring Much more this remark is applicable to Karnataka, from which the different currents of philosophy have flowed and flooded the rest of India and the whole world. The great Sri Sankar of monistic fame had his principal Math of Sringeri in Karnataka and began his life’s mission there. Sri Madhvacarya, the campion of Dualisn and Devotion, was entirely the product of this holy soil. Sri Basaveswar was another saint belonging to this eminent group. He is called â€Å"Bhakti-Bhandhari†- the treasure devotion – in Kannada. It was he who infused fresh life into veera-shaivism and made it a living faith. His inspiring personality attracted thousands of disciples who spread his new Gospel throughout the length and breadth of Karnataka. In their attempt to interpret the new message of their master to the masses, the eminent disciples of Basava, successfully utilized His Vachanas- a new form of literature in Kannada. These Vachanas are pithy (brief) sayings, brilliant in their directness and simplicity occasionally rising to the sublime grandeur even of the Upanisadic literature. They have brought light and hope to the Kannada masses and made their lives worth – living in all possible ways. Akka Mahadevi is one of the inspired disciples of Basava’s band. 2. BRIEF LIFE SKETCH OF AKKA MAHADEVI Akka Mahadevi was a prominent figure and Kannada poet of the Veerashaiva Bhakti movement of the 12th century Karnataka. Her Vachanas, a form of didactic poetry are considered her greatest contribution to Kannada Bhakti literature. In all she wrote about 430 Vachanas (another source says 350) which is relatively fewer than that compared to other saints of her time. The term Akka (elder Sister) which is an honorific (title) given to her by great Veerashaiva saints like Basavanna, Chenna Basavanna, Kinnari Bommayya, Siddharama, and Allamaprabhu. Akka Mahadevi was born in a town called ‘Udutadi’ in the centre of Karnataka in a Veera-saiva family. Her parents were the staunch followers of Trividhi philosophy of Guru, Linga and Jangama. She had an inborn devotion for God Siva. At age 10, she was initiated as a devotee of Shiva. She worshiped Shiva, whom she called Chenna Mallikarjuna, (Lord White as jasmine). Right from her childhood unlike other young girls she chose the Beautiful Lord, Pure white as the Jasmine, Chennamallikarjuna, as her playmate. Akka-Mahadevi was very beautiful. Her marvelous charm attracted the then ruling king- Kaushika who happened to be a Jain. Mahadevi agreed to marry Kaushika on three conditions. They are 1. She should be allowed according to her conveniences to practice the devotion of Lord Shiva, whom she calls Cenna Mallikarjuna. 2. She should be given freedom to listen and to meditate the life stories and teachings of ‘Siva Sharanas’ – saints of Lord shiva – and the practices of Saivism. . She should be allowed to practice the devotion of Trividhi philosophy –Guru, Linga, and Jangama. However, the male ego in Kaushika made him blind and he forced himself on her. Mahadevi outrightly renounced the marriage, with that she also renounced her parents, luxury, home and everything, considering them as impediments. She went bare to Kalyana where Allama was heading the Anubhavamantapa. Thus Mahadevi by renouncing the marriage with Kaushiaka emerged as the first protagonist of woman liberation. She discarded clothes and other worldly things as the last estiges of a sansarin and accepted the life of sanyasin. She left for Kalayana (a town in Bidar district of present Karnataka) which was known as God’s own city. Basaveshwara who is popularly known as Basavanna (elderly brother) has already launched a great social movement of casteless and classless society. Taking entry into his ‘Anubhavamantapa’ (the spiritual assembly) was not an easy task. Only those who are spiritually enlightened are allowed to come in, that too, after passing the kind of test held by the president of Anubhava Mantapa. Her renouncement of clothes and disregard for the body, or the acceptance of the life of nunnery was not an ordinary step in 12th century. Woman was not yet considered as equivalent to man. Her individual identity was under crisis. Even the great thinker and philosopher like Allamaprabhu questioned her unusual way of life. The picture of the discussion about this between Allama and Akka in the gate of Anubhava Mantapa? given by Chamarasa is not only an interesting literary piece but it is a candid and bold step in the history of whole womanhood. The discussion is as follows: Prabhu: Why have you come here in the prime of your youth? Our saints resent the sight of a young woman. If you can disclose the identity of your husband, you can join the fellowship of our saints, or else you can depart. A womans company is like poison. Tell us, who is your husband? Mahadevi: I was engrossed in penance for many years so that Siva might become my wedded lord! My own people wedded me to Siva by smearing my body with ashes and tying the marital bracelet to my wrist. All the world knows that the innumerable saints have been my parents. Therefore, O Prabhu, God is my lord; for me, there are no other husbands in this world. When Prabhu scolds her first for her nakedness Akka Mahadevi responds in this way: I have killed the cupid in myself and conquered this world. So I have no body. When I have no body, no sex where does exist the question of clothes? It is not the condition of the body that counts but, instead, a pure heart which wins the favor of God. I have covered my body with my hair so that the sight of my body may not be a cause of temptation for others. Prabhu questions whether Akka Mahadevi can be one with God when she still has human form and, worse, when it is a female body. She describes the superficiality of appearance, and of the leaders reluctance to accept her. Would the sandalwood cease its fragrance when its cut into pieces? Would a piece of gold, even when cut and heated, lose its luster? Would the sugar cane lose its sweetness when it is squeezed within a press and then heated? Prabhu pays her his ultimate compliment: Your body is female in appearance, but you mind is merged with God. In fact it was here onwards that she became Akka, an elderly sister. By her profound scholarship and burning fire of devotion she soon carved for herself an exalted position in the Anubhava Mantap, the unique Assembly of Saints there. Channa-Basava, the right hand man of Basava says, â€Å"Real greatness is only to be seen in Mahadeviakka, who has lost all sense of duality and has merged herself in the infinite. † 3. HER INTENSE LONG ING FOR THE LORD Even in her childhood, she used to worship Siva with great concentration. She took her early education under Shivagamacharya and started writing vachanas at the earliest age. Even at her early age of adolescences, Mahadevi’s devotion for Chenna Mallkarjuna was so deep and passionate that she did not play with the worldly toys like other children. On the other hand as she wrote in one of her Vachanas: â€Å"I wash away like the black soil in rain I slip and shifts like the sand, Anguished in dream I start awake, And burn like the fire in the forge, Comrades have I none in my woe O Cenna Mallikarjuna, do Thou grant me of Thy mercy A body that is not grappled by the groping hand, And the ecstasy that comes of union without uniting. † Akka’s whole life was a journey in search of her eternal lover, Cenna Mallikarjuna, whom she saw in her dream and followed in reality. During this course of divine frenzy the valleys and mountains were her friends, trees and animals were her companions, sun and the moon were the guiding spirits, whom she earnestly asked for the help in searching her beloved. Mahadevi, endowed with innate love and devotion for Lord Siva, had developed for the beginning a great aversion for worldly life. In one of her Vachanas she says, â€Å"O Lord! Without realizing Thee, I am dying in the meshes of my own self-willed desires, like a silk-worm perishing in the cocoon of silk spun out by it from its own body. Purge my mind, O God! of all evil desires and show me Thy Abode. † â€Å"This evil Samsara has been troubling me day and night. What shall I do my Lord? What shall I do to get rid of this constant harassment? I cannot bear this mental torment any longer. I throw myself entirely at Thy Mercy. Slay me or save me! Let Thy will be done. † Mahadevi had become thoroughly disgusted with the worldly life, and was constantly thinking of God and God alone. She asks, â€Å"Does a peacock ever play on the barren plain? and not on the mountains? Can a swan ever think of loving a dirty streamlet by abandoning a crystal lake? Will a cuckoo ever pour forth its flood of divine rapture anywhere except in a full-blossomed mango tree? Can a bee ever visit a flower without any fragrance? Can my mind be ever attracted by anything else but Thee, my Lord? † Mahadevi thus pines to have a glimpse at the lotus feet of the Lord. â€Å"Just as a caged parrot constantly remembers its brethren outside, so do I ever think of Thee. Call me ‘dear child’ and show me ‘Thy Beauty’†. I am pining for Thee, day and night, My Lord! The dart of Thy Love has been driven deep into my bosom and consequently I have forgotten hunger, thirst and sleep. † Maddened by such an intense Love for the Lord, she began to request everyone she met to show her the pathway to her Lord in this manner: â€Å"Bees, Cuckoos, Parrots, Moonligh t! I have one request for you. Have you seen my Lord? If so will you kindly show Him to me? † 4. HER CHALLENGE TO THE LORD: This extreme intensity of devotion had made her bold enough to throw such a challenge to the Lord: â€Å"Don’t harass me, my Lord, because I am helpless. But mind, I am not a woman to be easily terrified by any amount of pain Thou would inflict. I would live on dry leaves and sleep in the bed of arrows. Pure am I, my Lord! as I have consecrated my body and mind to Thee. † Moreover, she asks: â€Å"Will the sandal give up its fragrance even though it is cut to pieces and rubbed down? Will gold ever be darkened even when it is burnt in the fire? Will the sugarcane abandon its sweetness although it is cut to pieces, made to pass through the press and boiled in the fiery furnace? Don’t reveal my past sins to me my Lord. I will never desist from seeking Thy shelter even if Thou wouldest kill me. She says, â€Å"Thou mayest hear me or not my Lord! I cannot but sing Thy glory. Thou mayest love me or not, I cannot but worship Thee. Thou mayest grace me with Thy presence or not, I cannot but think of embracing Thee. Thou mayest look at me or not, I cannot help casting my loving glance at Thee and sing Thy praises in delight. I s hall worship Thee alone my Lord; and enjoy Divine delight by Thy worship. † 5. CONCEPT OF GOD ACCORDING TO AKKA MAHADEVI She calls her Lord as Chennamallikarjuna. In the book of Mahadevi’s path, as we turn the pages, we find that the image of Chennamallikarjuna changing. With time it merges into a higher and higher concept of the Divine. Only in her earlier years do we notice reference to Siva. Throughout He has remained her Antaryamin to whom she was wedded without a doubt. She says, â€Å"Like treasure hid in the ground, like flavour in the fruit, like gold in the rock and oil in the seed, the Absolute is hidden in the heart. † Further she says, â€Å"I am involved with the one who knows no death, nor decay nor form. He has no one place, nor any boundary, no modifications nor origins. He is Unrestricted to any clan, this casteless one is whom I love. For this reason I am for this man, this Chenna Mallikarjuna. She says, the approach to God must be through ardent love and devotion. She instinctively felt that man can never be fully and wholly fulfilled through self-discipline and knowledge, though self-discipline is arduous and knowledge superior. A more human approach to God lies through pure love and unselfish love which withdraws most of the obstacles that the ego interposes between the divine and the devotee. Akka was shining star in the Bhatki tradition. Her wedding to the Lord Shiva and her undivided heart of love and surrender to Him can be considered as the path of Bhakti Marga. She also considers that the path of action is very much necessary to have genuine devotion of the Lord. In this way she finds no conflict between these two paths rather it is the two sides of the same coin. Her vachans are the best expressed form of Janan Marga, where she tries to share her knowledge of the Lord. For Akka mahadevi to know the Lord and to worship him in mind and to share this knowledge with others in Vachans was a superior way of devotion. So Bhakti Jnana and Krma margas are not mutually exclusive for the Akka, but all three margas lead us to a true devotion to the Lord. 6. SPLENDID VISION OF THE LORD: Through His grace, she had soon the vision of the Lord. â€Å"I had a Vision† she breaks out in rapture, â€Å"I had a splendid vision of the Lord. He had shining golden hair, with a brilliant crown studded (filled) with jewels. A set of pearl-white teeth adorned his beautiful lips that were illumined the seven worlds. At this sight, the famine of my eyes has vanished altogether today. Now that I have seen my Lord Playing with His Primeval Shakti, by identifying Himself with her, I consider my life to have borne fruit. † This vision brought about drastic change in her entire outlook on life. The forest appeared to her to be full of Wish-trees; all the stones assumed to form touch-stones; every place was a place of pilgrimage; the whole world became full of heavenly ambrosia and every pebble she came across was a heavenly jewel. She saw the mountain very much dear to the Lord-Channa Mallikarjuna and entered the forest of Kadali-plantain trees . † In this way she went on having one spiritual experience after another and ultimately realized her identity with the Absolute. She says â€Å"Can the ghee mixed in milk remain separate from it? Who can differentiate heat from the brilliance of Sun? O Lord of Infinite Glory! My scales fell off my eyes as I realized my identity with Thee! † Again she says, â€Å"Whom shall I worship when my body has become Thine? Whom shall I remember when my mind has merged in Thee? Losing myself entirely in Thee, I have completely forgotten Thee with Thee. † 7. LAST DAYS OF HER LIFE Tradition says she left the world in her twenties, entering mahasamadhi (final divine union) with a flash of light. Her travels come to an end when she finds the Kadali vana in the vicinity of the Shrishaila temple. In Kadali vana, Mahadevi matures in nirguna upasana, ready for the final offering. She recognizes the Absolute in all of his creation. The kalpavriksha is all trees. The Sanjeevani is all bushes. All places are teerthas. Ambrosia is contained in all waters. All animals is the covetable golden deer. Every pebble glows as the chintamani gem. Here she also recognizes the paradox of His being in her body, as her very breath becomes His Fragrance. His form becomes hers. Her life force is no different from His very own. No knowledge to acquire, as she now knows Him. Who is there to think, of whom, as individuality ceases to be? This young, defiant and vibrant saint Akka Mahadevi attains Aikyastthala, the highest of the six states of Veerashaivism in the vicinity of the temple to Chennamallikaarjuna and Bhramaraambika. 8. THE CONCEPT OF TRIVEDHI PHILOSOPHY According to the Trivedhi Philosophy, all holiness consisted in due regard for three vital things–Guru, linga and Jangam (the guide; the image; and the fellow religionist). Guru: (personal spiritual master), Guru is the personal spiritual guide who has the knowledge of the path and knows how to guide one on it. A guru is the first cover/guard of soul against the attractions of Maya. He is a concept of awareness. He initiates a novice in the worship of Ista Linga, because he is a model in Ista Linga worship and is Jivanmuktha. He performs three functions: He initiates a person into the faith, trains him and guides him to move towards Aikyasthala (merger with Shiva) A Guru was forbidden to eat flesh, to chew betel or to touch liquor: and he wore a Kempa kavi vastra Linga: (Siva) Linga plays a very key role in the union of Jiva with Siva. Shiva should be worshipped through Ista Linga, which is a symbol of Shiva. The communion between God and a devotee is through Ista Linga. Ista Linga is a small black ball made up of certain prescribed materials kept in a silver casket put around the neck with the help of a thread called shivadara (thread of Lord Shiva). Ista Linga is Shiva Himself. It is universal form of God in a miniature and is the greatest light of the inner most heart which is brought out and shaped into a form by the guru. It is the visible symbol of the invisible energy existing in all beings. The guru places the Ista Linga on ‘Thanu’ (body) ‘Prana’ (life) and ‘Bhava’ (feelings). The linga placed on the thanu is Ista Linga, the linga placed on Prana is Pranalinga, and the linga placed on the Bhava is called Bhavalinga. The practice of wearing Siva linga constantly on their bodies as a mark of devotion and surrender to Lord Siva. Jangama: (an enlightened spiritual guru) Jangama is the realized soul or the perfect one who has already been through the path and knows how to lead one there. A jangama is a liberated man and moves about from place to place to preach the Lingayat Philosophy. He is a moving spirit of the Lord and is personified in the services of the Lord. He leads a simple life, is a man of detachment and is without shelter of his own. He is inseparable from Linga. Guru, Linga and Jangama are treated on equal footing and are rendered with equal respect and reverence. One needs to surrender to them and seek their help in intensifying ones devotion to Siva to obtain his grace and achieve the final union. 9. AKKA THE SOURCE OF WOMEN EMANCIPATION She is a prominent figure in the field of female emancipation. Probably, she may be the first feminist in India as she has been in a constant battle against the established institutions and rituals prevalent in India, in the 12th century. During such time of strife and political uncertainty she launched a movement that made her an inspiration for woman empowerment and enlightenment. The time was marked as height of foolishness of varnashrama dharma which only supported the three upper castes of Hindu society in India and suppressed the shudras and women. It was in the 12the century such a feminist voice, heard from a country like India, where the patriarchal system is at its best. A time when females are forbidden at the school entrance, Akka Mahadevi could take part in many gatherings of learned men at the Anubhavamandapa in Kadal Sangama, to debate philosophy. Though she lived and died young the lines she uttered and the divine life she led keep her as an inseparable part of Indian history in general and the movement of woman’s emancipation in particular. She proves that woman is not the puppet in the hands of male dominant society. On the other hand she is as free as the objects of the world around. She was never contended with the restricted role of a girl at home. Limitations placed on women in the pursuit of education and spirituality was unacceptable for her. She proved herself that a woman has every right and has all the means to pursue a life of an ascetic. Her entire woman’s life with many traumatic experiences is a testimony to the Power of Indelible Courage and Faith. Her renouncement of clothes and disregard for the body, or the acceptance of the life of nunnery was not an ordinary step in 12th century. Woman was not yet considered as equivalent to man. Her individual identity was under crisis. Even the great thinker and philosopher like Allamaprabhu questioned her unusual way of life. Akka becomes a distinctive phenomenon in the human history not merely by her style of dressing or unusual way of arguing. Her distinct pathway through the world, which took her to the climax point of rationalism, establishes her as an ever-shining star of boldness. Her denial of the riches and comforts of the palace and the amputations of the domestic bonds reminds one of Buddha. Her ideal of social and gender equality, propagated in the 12th century had become the creed of higher education in and out of Karnataka. Along with Basaveshwara, she was also one of the socialist reformers who spoke out against the caste system. Among her 315 vachanas, considered as sacred scriptures by the Kannadigas, one proclaims this message: â€Å"Unrestricted to any clan, this caste less one is whom I love for this reason, I’m for this man. † Akka Mahadevi is even remembered and revered all over Karnataka as a seer-poet and a social reformer. You can see a number of educational and charitable institutions all through the State, named after Akka. Akka Seva Samajas, the charitable institutions in the State, pursue the same goal Akka Mhadevi has propagated – uplifting the status of the girl children. They work for the destitute girls and down trodden women in their three branches at Kumara Park, Rajaji Nagar, Rajarajeswary Nagar along with the first one established at Bangalore. The proceedings of the Samajas are inspired by the life and teachings of Akka Mahadevi who burned up as a flash of light in the caves of Sreeshailam. 10. AKKA MAHADEVI A MYSTIC SAINT Akka Madhavi is no doubt a great Bhakti saints of the 12th century, she experienced a call within, that no other pre-occupation distract her, in her path to the Lord Shiva. Unlike other girls, the very desire for a family and married life, and other worldly pleasure and comfort she considers these nothing compared to her devotion to the Lord Shiva. Her poems or Vachnas are the spontaneous overflow of her love for the Lord. Her cloths, beauty and ornaments were the love and devotion to the Lord. This intense devotion and renunciation of worldly affairs made her a great mystic of the time. She had an experience of the Lord in the heart, this basic experience led her to experience Lord in everything: in the beautiful nature, mountains valleys and everywhere. She finds her home in the nature and everything in it was her companion. In union with the nature and all the being she searched for the Lord and she experienced Him together with all beings. This shows that in totality she experienced and worshipped the Lord in the Universe. This is the another aspect of her mysticism. There is a massage for all, who search the Lord with the sincere heart that God can be experience in our simple and ordinary life situations and surroundings. There is no need of going to high mountains like Himalayas to search for the Lord; he is here within us and in the nature. Akka madhavi experienced this truth from her child hood itself, and she could experience more intensively and more clearly in her later stages of life. She expresses the unity between her and the Absolute in the following Vachana: I do not say it is the Linga. I do not say it oneness with the Linga. I do not say it is the Merging, I do not say it is the Parting I do not say it has Happened. I do not say it is to Be. I do not say it is I. I do not say it is You. The mysticism of the Akka is in par with the existing theological understanding of the experience of the Lord. There is no conflict with the tradition and philosophical thinking of the time. Man’s search for the Lord in the cosmos with the nature and created beings is very much acceptable to the mystics of all times. The out flow of the heart’s desire and her love she expresses in her poems and Vachana is a real treasure and guide to seek the Lord, for the many generation to come. Akka mahadevi is somewhat negative about the concept of body. The bodily beauty was a liability for her in her short life. She calls this body as the site of dirt, lust, greed and rage. This may be because of her experience with Kaushika and in Anubhava Mantapa. According to her the body and its temptations are the primary causes which come on the way in ones union with the Lord. In this way in her thought we can see the clear cut distinction between body as something bad which belongs to the world and soul in something sacred which helps one to live a holy life. 11. CONCLUSION Mystics have a double aspect in their life. They are often perceived as rebel in a cultural social ethos. They refuse to walk or to follow the manmade laws and tradition. They have a fine intellect and sharp perception of divine reality. They guide people in the new path towards the absolute. They are courageous, creative and enthusiastic in walking the new unknown path with full trust and confidence. This unusual way of life and their very courage novelty and creativity make them to be rejected in the society, but later they are hailed and accepted in the society. Akka Mahadevi was one among such saints who was intoxicated by Shiva Shakti. Because of her ascetic way of life she became true Shakti and all other powers of tradition and culture she rejected. This way led to her to the spiritual heights making her a mystic. Thus we can see that akka mahadevi had two aspects i. e. initial rejection as rebel and later acceptance as mystic saint. Nobody knows exactly for how many years Akka Mahadevi lived. According to one popular belief she lived only twenty-five years. Within this small span of life the achievement she did, the area she had covered from Udatadi to Srisail and the great spiritual personalities she met is something amazing. No other Indian social activist achieves the parallel position with Akka in this regard. It is sure that physically she lived a very short life but spiritually she did surpass the common level. The historians are of the opinion that Akka only in a true sense represents the whole vachana movement, which is in swing till the time present. The vachanas she wrote is a gem of divine thought. These few Vachanas of Mahadevi gives us the insights into the unique psychology of God –intoxication of this blessed saint. Even linguistically they achieve an everlasting place. Each phase of her life was a step towards the emancipation of not only of womanhood but also of the mankind. She was sure footed in her radical combat with the age-old norms of the society. She lived for the life enlightened and the life divine. Akka is a guiding spirit behind all the women activists, irrespective of the age and space. One should be thankful to the womankind, which has given â€Å"the Sappho of Greece, the Theresa of Christianity, the Lalleshwari of Kashmir, the Rubia of Arabia, the ‘Andal’ of Tamilnadu, the Meera of Rajasthan. † No doubt all they are incomparable individuals in their life and achievement. BIBLIOGRAPHY Deshpande, M. S. â€Å"Akka Mahadevi: St. Mira of Karnataka. † Pathway to God: A Journal of Spiritual Life 10, 1 (November 1975), 21-26. Hampana, Kamala. Akka Mahadevi. Bangalore: Sapna Book House, 2002. ambahouse. org/akkamahadevi. html ourkarnataka. com/religion/akka_mathapati. htm scrollindia. com/women-zone/akka-mahadevi-kannada-seer-poet. Patil, S. H. Community Dominance and Political Modernization. Delhi: A Mittal Publication, 2002 Shastry, G. V. Akka Mahadeviya Vachanagalu. Gadag: Paru Prakashan, 1999. Umadevi, S. Akka Mahadeviyavara Vachanagalu. Hubli: Lalit Prakashana, 200.

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History Behind Moulin Rouge the Movie Essay It was 1899 in Paris, France, it was the time of the Bohemian Revolution, and it was the summer of love. Christian, played by Ewan McGregor, was a writer and came to Paris to experience this revolution and be surrounded by the artists, singers, and dancers of this new Bohemian world. Little did he know that he would experience something he had never felt before but always believed in: love. Moulin Rouge, directed by Baz Luhrmann, is an exquisite movie musical based off of a real life cabaret called Moulin Rouge in Montmartre. The movie tells the story of the love triangle between Christian, Satine aka the â€Å"Sparkling Diamond† of the Moulin Rouge, played by Nicole Kidman, and The Duke. Although Christian and Satine are fictional characters, the story includes real life characters such as Harold Zidler, the co-mastermind of the Moulin Rouge and Toulouse-Lautrec, a famous French artist. Moulin Rouge is a great look into what life was like back in Paris in 1900, but also adds in the love story between Christian and Satine to make for a great movie musical. In the beginning of the movie, Christians optimistic love shines some light into Satines dark materialistic reality. To make a living, Satine became a courtesan at the Moulin Rouge. She gets paid for making men believe what they want to believe, so she sells her body to make money. She mistakenly became attracted to Christian for his pure and optimistic belief in love. Seeing that Christian did not have a lot of money, she becomes hesitant of loving him because he would not be able to support her and her dreams of being an actress. With Christians pure and optimistic belief of love, he captures Satines heart by loving her for who she really is, not for what she is. Although Satine dies in the end of the movie, Christian learns that true love lasts forever even through death. Harold Zidler, who is not a fictional character, is the man who helped to run the real Moulin Rouge cabaret. In the film, and in real life Paris, Zidler was the man who was, â€Å"a ‘brother’ to the artists and the man in the shadows who watched over the dancers and the rest of the personnel with a benevolent eye and ruled with an iron fist† (History). In the film he is the one who is in charge of making sure everything goes perfectly at the cabaret and makes sure all his dancers, especially Satine, know what they are supposed to do and who they should impress that night. Not only did he run the Moulin Rouge he was also a showman and performed with his dancers in the shows. Toulouse-Lautrec was also an important person when it comes to the cabaret in Paris. In the film he does not have a huge role other than help Christian get inside the Moulin Rouge and find a way for him to meet Satine. In Paris in the 1900’s, though, he is said to have been â€Å"the eyes of the Moulin Rouge.† Toulouse-Lautrec attended every evening show when the cabaret opened; and as mentioned before he was an artist, so every night he would sit in a corner and draw the dancers accompanied by a glass of absinthe (History). The fact about the absinthe is also in the movie; Toulouse-Lautrec, Christian, and a few others take a shot of absinthe before they head to the Moulin Rouge one night and the next few minutes of the film are just filled with pure craziness and hallucinations. His artwork, though, was extremely important in the success of the Moulin Rouge. â€Å"In 1891, he drew the first advertising poster for the Moulin Rouge, which today remains the best known image of the Moulin Rouge around the world† (History). His work is still famous today and without him the Moulin Rouge in Paris would not be as well known as it is today. The dancers of the Moulin Rouge were masters of the â€Å"cancan.† One of the stars and also known as â€Å"Queen of the Cancan† was Louise Weber, but her nickname was â€Å"La Goulue.† She is not specifically in the film, but in a biography about her, it states that, â€Å"one evening when she was dancing a frenetic cancan, between two cartwheels she spotted the Prince of Wales, who had come to spend an evening on his own at the Moulin Rouge, and called out, with the Parisian cheek for which she was well know, ‘Hey, Wales! The champagne’s on you?’† (History). La Goulue is relatable to Satine in the film, because Satine was also the star and best dancer and she spotted Christian the first night he was there and while she was dancing called him out in front of everyone who was in attendance at the Moulin Rouge that evening. Moulin Rouge is one of Baz Luhrmann’s best films. The movie came out in June 2001 and has won many awards and is one of the best movies in the musical genre. The set design, costumes, casting of roles, and music all is so perfectly put together to create this brilliant film. Luhrmann, who also co-wrote the movie with Craig Pearce, traveled to Paris with Pearce and the production designer to conduct historical research and write the synopsis for the movie. â€Å"To find ways to depict 19th century Paris and the Moulin Rouge as it may have felt to its audience then at the cutting edge of sex, music, dance, theater and modern thinking the filmmakers immersed themselves in the neighborhood, venues and culture of their story† (Luhrmann). Through their research and learning about the culture, they came to understand that the Moulin Rouge was a club that brought all different classes together and Pearce quotes that is the equivalent of â€Å"Studio 54 in New York in the late 70’s; a place where the rich and the powerful can mix with the young, the beautiful and the penniless† (Luhrmann). This is shown in the movie because we see the powerful, such as The Duke, and then Christian who is just a writer, come to the same club to experience th e same thing, women and entertainment. The first half an hour of the movie is nonstop music, dancing, lights, and just absolutely craziness. Audiences are not given a chance to â€Å"relax† and just slowly take the movie in; it is fast paced and keeps the movie viewer on their toes just waiting for what will come next. In a movie critique, shortly after it came out in 2001, the movie reviewer describes Moulin Rouge as â€Å"grandiose, glorious, absinthe-soaked excess.† When filming, Luhrmann wanted everything to be over the top and wanted more out of the production; more songs, more sound, more color, more everything (Kaplan C.D.). This is what it was like in the real cabaret, the dancing and songs were all so intense and crazy so the men would be fully entertained and never get bored. There was a lot going on in Paris in the late 1880’s and 1890’s. The Eiffel Tower was built, the first cinematographic screening was shown by the Lumiere brothers, and the most famous cabaret opened its doors. â€Å"The public came in mass to discover this extravagant place with its huge dance floor, mirrors everywhere, and galleries that were the last word in elegance, to mix with the riffraff and girls of easy virtue† (History). The Moulin Rouge was a place for the rich and poor men to come for dancing, music, and entertainment from the ladies; it is said to have been an atmosphere of â€Å"total euphoria.† This was a time where workers, aristocrats, artists, and the middle-class could all gather together to experience cabarets, music-halls, and other night time activities. As mentioned before, this movie takes place during the Bohemian Revolution. This revolution was not a revolution of fighting, but a revolution of art and culture. It was a time for artisits, poets, writer, singers, dancers, and anyone else who wanted to express themselves to show off their talents and be recognized. These were the â€Å"children of the revolution† (Moulin Rouge). In the beginning scenes of Moulin Rouge, Christian is told that to really be a child of the revolution, he has to believe in beauty, freedom, truth, and most importantly love. Which of course he believes in love, it is what he lives for and as stated earlier, he is given the chance to experience love for the first time. Not only is the movie based off of the real cabaret in Paris, but it is also partly based on the Greek myth of Orpheus and partly on the opera La Traviata by Giuseppe Verdi (IMDb). The Greek myth of Orpheus and Eurydice is somewhat like the story between Christian and Satine. Orpheus is said to have been the best musician that ever lived and until he met Eurydice, he lived his simply and carelessly. Orpheus and Eurydice fell in love and it meant everything to both of them but someone else wanted Eurydice’s beauty and wanted her but she did not care for this other man. To make a long story short, she ends up dying and Orpheus tries to get her back from the underworld but could not save her; all he had left was the love they once had (â€Å"Orpheus†). For Christian, he lost Satine and would never get her back again but what he got from her death was a story of true love that he has to share with the world. Satine was already dying before she fell in love with Christian, but at least she was able to die knowing what it was like to be in love. The opera La Traviata is another love story that ends tragically. Violetta, who is a courtesan, claims that love means nothing to her until she meets a young man named Alfredo which makes her then wonder if he could be the man that she could love. In the end of the story, though, Violetta is diagnosed with tuberculosis and does not have long to live and dies at Alfredo’s feet (â€Å"La Traviata†). This opera, the myth of Orpheus, and Moulin Rouge, are all similar in the way that the woman never really believed in love until they met that one man that changed their views on love, there are challenges to face one the man and woman fall in love, and then it is the woman who dies in end leaving their lovers all alone. Each story is a little different but the same basic idea, from the opera and Greek myth, are apparent in the film. From twentieth century Paris, the Bohemian Revolution, the myth of Orpheus, Harold Zidler, and other historical moments, Moulin Rouge is a one of a kind musical film that is an amazing piece of work put together by Luhrmann. Knowing the history behind the film makes it exciting to watch and understand what it was like back in Paris in 1899. Works Cited â€Å"The History of the Moulin Rouge and its Shows.† Moulin Rouge.fr. Le Bal du Moulin Rouge, n.d. Web. 17 Nov. 2011. Kaplan, C.D. Rev. of Moulin Rouge, by Baz Luhrmann. Louisville Eccentric Observer, Louisville, Ky.: 30 May 2001. Vol. 11, Iss. 30; pg. 21 â€Å"La Traviata.† The Metropolitan Opera. N.p., n.d. Web. 18 Nov. 2011. Luhrmann, Baz,, and Craig Pearce, commentary. Moulin Rouge. Dir. Baz Luhrmann. Perf. Nicole Kidman and Ewan McGregor. Twentieth Century Fox, 2001. Film. Moulin Rouge. Dir. Baz Luhrmann. Perf. Nicole Kidman and Ewan McGregor. Twentieth Century Fox, 2001. Film. â€Å"Moulin Rouge.† IMDb. IMDb.com, Inc., n.d. Web. 17 Nov. 2011. â€Å"Orpheus and Eurydice.† Paleothea Myths. N.p., 10 Jan. 2008. Web. 18 Nov. 2011.

Breach Of Confidentiality: The Legal Implications When You Are Seeking :: essays research papers

Breach of Confidentiality: The Legal Implications When You Are Seeking Therapy Abnormal Psychology 204 November 2, 1996 Breach of Confidentiality: The legal Implications when You are seeking Therapy I. The need for confidentiality in therapy A. Establish trust B. A patients bill of rights Thesis: The duty to warn has created an ethical dilemma for psychological professionals. II. Therapists face a moral problem B. Requirement by law to breach confidentiality C. Exceptions for breaching confidentiality D. Prediction of violence E. Impact on client I. The future outlook for therapy A. Conflicting views between the legal and psychological professions People are afraid to admit to themselves and others that they need to help to resolve their psychological problems. This is due to the social stigma which society attaches to people, when they seek assistance from a mental health professional. Consequently it is very difficult for any person to establish a trusting relationship with their therapist, because they fear, that the therapist might reveal their most personal information and emotions to others. Health professionals therefore created the patients bill of rights to install confidence between clients and therapists. The patient has a right to every consideration of privacy concerning his own medical care program. Case discussion, consultation, examination, and treatment are confidential and should be conducted discreetly. Those not directly involved in his care must have the permission of the patient to be present. The patient has the right to expect that all communications and records pertaining to his care should be treated as confidential. ( Edge, 63 ) This bill of rights enables clients to disclose all personal information without fears. To fully confide in the therapist is essential to the success of the therapy. On the other hand, the therapist is legally obliged to breach this trust when necessary. The duty to warn has created an ethical dilemma for psychological professionals. The duty to warn is based on a court ruling in 1974. Tatiana Tarasoff was killed by Prosenjit Poddar. Prior to the killing Poddar had told his therapist that he would kill Tatiana upon her return from Brazil. The psychologist tried to have Poddar committed, but since the psychiatrist overseeing this case failed to take action, Poddar was never committed nor was Tarasoff warned about Poddars intentions to kill her. This failure resulted in Tatianas death. The Supreme Court therefore ruled that the psychologist had a duty to warn people which could possibly become harmed ( Bourne, 195-196 ). This policy, to warn endangered people, insures that therapists must breach there confidentiality for specific reasons only. These few exceptions are: Harm Principle: "When the practitioner can foresee a danger to an individual who

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The three communication theories I have applied to provide the most insight into understanding the dynamics of the observed conversation between two people are; the transmission model (Shannon & Weaver 1949), Fuller's ecological model (Fouler 2004), and an expanded model of communication (Munson 2012). In this essay I have used a conversation I had listened to which was between my friend (from here on will be named George) and his friend (from here on will be named Mark). Problems that arose during the conversation will be explained as well as how George and Mark overcame them.From there the essay will compare and contrast the three communication theories and decide which of these best simplify the conversation. Complexities of the conversation I was asked by George to take him down to the pub to meet up with Mark for a couple of games of pool, whilst chatting over a cold beer. George is nearly completely illiterate due to him leaving school at the age of 12, moving to the Northern t erritory and working on a cattle farm up until the age of 19, where he then moved back to Lissome.Mark is completely deaf and has next to no ability to lip read (this I had not known until I met him). Both George and Mark do not know sign language of any kind. George and has learnt to use abbreviations in text messages, which is about the extent of his written language capabilities. Problems that arose George had been avoiding this meeting because he finds the conversations very difficult, and this usually leads to heated discussions, especially when the conversations centered on Mark's granddaughter (which George has always had affectionate feelings for but never acted upon).Both George and Mark have their own perceptions on what is going on in her life, which has, and still causes either Mark or George to have expectations from the other, and creates selective perceptions (Withes 2009). This introduces psychological noise and detracts from the meanings of some of the messages in t he conversation. A one way lack of tone and inflection in the voice to communicate feelings and emotions more clearly can provide misunderstanding in the meaning of some messages. Language barrier from non-literate to literate people poses the greatest barrier to messages both to and from each other.Feedback is restricted to kinesics emblems, regulators, and illustrators (De Vito 2001). George aged 2 and Mark aged 64 both have different educational backgrounds in which written communication differs. Text messaging or testing (Shaw et al. 2007) can be a major source of misinterpretation, though Mark has been using his mobile phone for some time now. This leads to the conclusion that this increases the communication abilities of how Mark can interact with George, though there is still the written language barrier between them (Kumara et al. 2011).How George and Mark overcome these problems The over emphasis of kinesics emblems, regulators, and illustrators (De Vito 2001) had o be used as feedback due to the lack of language being used by George. Facial expressions become very important for Mark and George to try to convey their own, and comprehend each other's emotions, from understanding to frustration. Increased eye contact which would make most people more nervous and defensive (De Vito 2001) become a highly prized resource for feedback as well it had helped regulate the control of the conversation.Shannon and Weaver's transmission model (Shannon & Weaver 1949) seems to be the simplest model, and therefore maybe the est. for most situations; however, it lacks the detail in which the complexities of this particular conversation pose, and that need to be addressed, in particular the noise sources. Figure 1 : Transactional model (Source: Shannon & Weaver 1949) Fuller's ecological model is an elaboration of (Alleles 1948) model of â€Å"Who, says what, in which channel, to whom, with what effect† (Fouler 2004) though it takes into account of the use of dif ferent languages using modern mediums.This model is an excellent model but focuses on more of the use of the language and the media it is conveyed in and to so much on person to person communications. Figure 2: An Ecological Model of the Communication (Source: Fouler 2004) Union's expanded model of communication is more complex than Fuller's as well as Shannon and Weaver's models, though it is more appropriate to this conversation had between George and Mark due to the fact it shows that in order for the communication to happen the sender must pre-edit and then encode the message pass the message onto the receiver where he decodes and edits the message.Munson also takes into account the use of mechanical, behavioral and semantic actors of encoding, and understands that if the message is to be understood the receiver must be able to decode the message. This is particularly relevant, and highly important to this conversation between George and Mark due to the factors mentioned before. Context Figure 3: An expanded model of communication (Source: Munson 2012) Conclusion I have found Shannon and Weavers transactional model too simple and cannot evaluate the complexities of this situation, and that Fuller's model too broad and not able to focus on the problems that need to be addressed.Therefore, I believe hat Union's expanded model of communication is the most adequate to use out of the three models that were written about because Union's model has shown how a message from George is first pre-edited (thoughts), then encoded (written on paper), passed on through noise (physical, psychological as well as expectations and selective perception), decoded by the receiver (reading Georges writing) and then finally edited to Mark's own meaning and interpretation.This explains how there was some heated discussions in the past, and will continue to be so until they are able to actively listen' to each other before they place their own selective perceptions and expectations on their conversation.

The s Video For Bad Girls - 1496 Words

With souped-up cars, gold clad attire and reckless behavior, M.I.A’s video for Bad Girls is the definition of â€Å"life in the fast lane†. M.I.A, an alternative hip-hop artist, stays true to her roots in Bad Girls, beginning the video with bass beats that are characteristic of the hip-hop genre―immediately making you feel the music and want to dance along. All the while, she still captures the essence of the video by mixing traditional hip-hop rhythms with a Mediterranean flair, giving the song an overall hypnotic quality with a hint of sex appeal. Despite its upbeat tempo and steady beat, lyrically and visually, Bad Girls is full of political and social undertones. The first verse of the song, â€Å"Live fast, die young, bad girls do it well†,†¦show more content†¦Throughout the video, drifting and â€Å"sandal skating† (figure 1) take place. Despite these activities being usually performed by men, the video shows women driving the cars (figure 2) in which the men are sandal skating from. These frames of the video highlight the traditional male frivolity and opulence, contrasting the privilege that men have with the opportunity that women lack, but also empowers women by putting them in a position of power in which they would not normally assume. The video for Bad Girls continues to touch on the topic of feminism and gender equality through the clothing choices. In the video, a variety of women are represented. Some wear traditional Arab attire that covers everything, only revealing the eyes, while others, M.I.A included, wear more westernized clothing with touches of Middle Eastern and South East Asian accents (figure 3). Both types of clothing are presented as lavish, taking on bright colors and dripping in shimmering fabrics, occasionally draped with gold chains, as she references in the song itself. As a result, attention is brought towards the women, showing that they too can partake in the tradition of male opulence. Despite M.I.A’s attempts to make the stereotypes of Arab women the center of this video, it was this exact reason as to why she received so much backlash from it. Many argued that instead of increasing the visibility of Arab women in the media, the