Incubus – Zee Deveel Lyrics | 16 years ago |
Brittney Engel Intro to Bib Studies Odysseus’ Scar Outline I. Retelling of the story of Odysseus A. Euryclea puts Odysseus on grandfather Autolycus’s lap. B. Odysseus visits his Autolycus C. Odysseus gets a scar from a boar tusk (from god) D. Odysseus returns home where Euryclea recognizes him II. Identifying the styles of Homer A. Relax tension B. Diversion into elegance, charm, idyllic pictures C. “Retarding Element” a.) “Going back and forth” b.) Lack of striving toward a goal D. Nothing Hidden or unexpressed III. Homer’s representation of the gods A. Full account of the activities of the gods in the past present and the future B. Elaborate conversations between the gods C. Feasts, banquets, etc…that the gods engage in IV. Genesis’s story of Abraham and the sacrifice of Isaac A. God comes to Abraham and tells him to sacrifice Isaac B. Abraham wakes up early and sets out the next morning C. Abraham arrives three days later D. God intervenes and does not let Abraham follow through V. The Elohist’s style A. No sense of location B. No sense of the whereabouts of God C. Strives toward specific goal D. Open interpretations VI. The Elohist’s representation of God A. Where is God? B. No definite place in space C. God is precise in what he asks of Abraham VII. Comparisons of Homer’s style and the Old Testement Style A. Homer shows psychological life and the succession characters’ emotions, Jewish writers represent consciousness and the conflict between them B. Homer – emphasizes characters physical appearance, OT does not C. Homer – no real world (“contains nothing but itself”), OT is a real historical account that happened in the real world It is “legend, historical reporting, and interpretive historical theology” |
Ben Harper – Burn One Down Lyrics | 17 years ago |
"you'll see it's a blessing and not a curse" |
Incubus – Zee Deveel Lyrics | 17 years ago |
Brittney Engel One of my best friends, Brynn, has admitted she is an alcoholic, has obsessive compulsive disorder, struggles with depression, and the list literally goes on. When I first met Brynn, I could have been like so many others in her life who’ve looked at the way she lives and at the scars on her wrist and thought, “That girl has problems!” I could have judged her, but what’s the point? There are so many people that misunderstand me, and I sincerely wish they would take the time to know me better. If people would take less time scorning those they don’t agree with, and take more time understanding them and building healthy relationships, there would be a lot less hurting people in the world. If people make an effort to understand someone and gain their trust, they can then begin to help them. Even though Brynn and I have known each other for little more than a year she considers me her best friend. She says that I am the only one in her life that “has never screwed her over.” If Brynn doesn’t like someone, she is the type that will tell them straight up that she doesn’t like them and doesn’t care about what they think. But, by being someone who understands her and whom she can trust, she listens to what I have to say. I can begin to help her make changes. By being her friend, I can be right there beside her, guiding her not only with what I say, but with what I do. Imagine, then, if she had more than one person in her life that took the time to understand her. Getting to know someone can have positive effects on both people. A relationship is not a one way thing. If I just nosed my way into Brynn’s life, I don’t think she would want to have anything to do with me. Instead, we both got to know each other. She knows and understands my problems just like I understand hers. I still need a conclusion! |
Godsmack – Voodoo Too Lyrics | 18 years ago |
CHAPTER 17 VOCAB Psychotherapy – an emotionally charged, confiding interaction between a trained therapist and someone who suffers from psychological difficulties. Electric Approach - an approach to psychotherapy that, depending on the client’s problems, uses techniqu4s from various forms of therapy Psychoanalysis – Sigmund Freud’s therapeutic technique. Freud believed the patient’s free associations, resistances, dreams, and transferences- and the therapist’s interpretations of them- releases previously repressed feelings, allowing the patient to gain self-insight Resistance – in psychoanalysis, the analyst’s noting supposed dream meanings, resistances, and other significant behaviors in order to promote insight. Interpretation – In psychoanalysis, the analyst’s noting supposed dream meanings, resistances, and other significant behaviors in order to promote insight. Transference – in psychoanalysis, the patient’s transfer to the analyst of emotions linked with other relationships (such as love or hatred for a parent) Client-centered therapy – a humanistic therapy, developed by Carl Rogers, in which the therapist uses techniques such as active listening within a genuine, accepting, empathetic environment to facilitate clients’ growth Active listening – empathic listening in which the listener echoes, restates, and clarifies. A feature of Rogers’ client-centered therapy Behavior therapy – therapy that applies learning principles to the elimination of unwanted behaviors Counterconditioning – a behavior therapy procedure that conditions new responses to stimuli that trigger unwanted behaviors, based on classical conditioning. Includes systematic desensitization and aversive conditioning Exposure therapies – behavioral techniques, such as systematic desensitization, that treat anxieties by exposing people (in imagination or actuality) to the things they fear and avoid. Systematic desensitization – a type of counterconditioning that associates a pleasant relaxed state with gradually increasing anxiety-triggering stimuli. Commonly used to treat phobias Aversive conditioning – a type of counterconditioning that associates an unpleasant state (such as nausea) with an unwanted behavior (such as drinking alcohol) Token Economy – an operant conditioning procedure that rewards desired behavior. A patient exchanges a token of some sort,. Earned for exhibiting the desired behavior, for various privileges or treats Cognitive therapy- therapy that teaches people new, more adaptive ways of thinking and acting; based on the assumption that thoughts intervene between events and our emotional reactions. Cognitive-behavior therapy – a popular integrated therapy that combines cognitive therapy (changing self-defeating thinking) with behavior therapy (changing behavior) Family therapy – therapy that treats the family as a system, Views an individual’s unwanted behaviors as influenced by or direc6ted at other family members; attempts to guide family members toward positive relationships and improved communication. Psychopharmacology – the study of the effects of drugs on mind and behavior Lithium – a chemical that provides an effective drug therapy for the mood swings of bipolar (manic-depressive ) disorders Electroconvulsive therapy (ECT) – a biomedical therapy for severely depressed patients in which a brief electric current is sent through the brain of an anesthetized patient. Psychosurgery – surgery that removes or destroys brain tissue in an effort to change behavior Lobotomy – a now-rare psychosurgical procedure once used to calm uncontrollably emotional or violent patients. The procedure cut the nerves that connect the frontal loves to the emotion-controlling centers of the inner brain CHAPTER 18 Social psychology – the scientific study of how we think about, influence, and relate to one another Attribution theory – the theory that we tend to give a causal explanation for someone’s behavior, often by crediting either the situation or the person’s exposition Fundamental attribution error – the tendency for observers, when analyzing another’s behavior, to underestimate the impact of the situation and to overestimate the impact of personal disposition Attitude – a belief and feeling that predisposes one to respond in a particular way to objects, people, and events Foot-in-the-door phenomenon – the tendency for people who have first agreed to a small request to comply later with a larger request Cognitive dissonance theory – the theory that we act to reduce the discomfort (dissonance) we feel when two of our thoughts (cognitions) are inconsistent. For example, when our awareness of our attitudes and of our actions clash, we can reduce the resulting dissonance by changing our attitudes Conformity – adjusting one’s behavior or thinking to coincide with a group standard Normative social influence – influence resulting from a person’s desire to gain approval or avoid disapproval Informational social influence – influence resulting from one’s willingness to accept others’ opinions about reality Social loafing – the tendency for people in a group to exert less effort when pooling their efforts toward attaining a common goal than when individually accountable Deindividuation – the loss of self-awareness and self-restraint occurring in group situations that foster arousal and anonymity Group polarization – the enhancement of a group’s prevailing attitudes through discussion within the group Prejudice – an unjustifiable (and usually negative) attitude toward a group and its members. Prejudice generally involves stereotyped beliefs, negative feelings, and a predisposition to discriminatory action Stereotype – a generalized (sometimes accurate but often overgeneralized) belief about a group of people Ingroup – “Us” – people whom one shares a common identity Outgroup – “Them” – those perceived as different or apart from one’s ingroup Ingroup bias – the tendency to favor one’s own group Scapegoat theory – the theory that prejudice offers an outlet for anger by providing someone to blame Just-world phenomenon - the tendency of people to believe the world is just and that people therefore get what they deserve and deserve what they get Agression - any physical or verbal behavior intended to hurt or destroy Frustration-agression principle – the principle that frustration- the blocking of an attempt to achieve some goal – creates anger, which can generate aggression Conflict – a perceived incompatibility of actions, goals, or ideas Social trap – a situation in which the conflicting parties, by each rationally pursuing their self-interest, become caught in mutually destructive behavior Mere exposure effect – the phenomenon that repeated exposure to novel stimuli increases liking of them Passionate love – an aroused state of intense positive absorption in another, usually present at the beginning of a low relationship Companionate love – the deep affectionate attachment we feel for those with whom our lives are intertwined Equity – a condition in which people receive from a relationship in proportion to what they give to it Self-disclosure – revealing intimate aspects of oneself to others Altruism – unselfish regard for the welfare of others Bystander effect – the tendency for any given bystander to be less likely to give aid if other bystanders are present Social exchange theory – the theory that our social behavior is an exchange process, the aim of which is to maximize benefits and minimize costs Superordinate goals – shared goals that override differences among people and require their cooperation GRIT – Graduated and Reciprocated Initiative in Tension-Reduction – a strategy designed to decrease international tensions |
311 – You Get Worked Lyrics | 18 years ago |
PERSONALITY – an individual’s characteristic pattern of think9ing, feeling, and acting. FREE ASSOCIATION – in psychoanalysis, a method of exploring the unconscious in which the person relaxes and says whatever comes to mind, no matter how tri vial or embarrassing. PSYCHOANALYSIS – Freud’s theory of personality that attributes our thoughts and actions to unconscious motives and conflicts; the techniques used in treating psychological disorders by seeking to expose and interpret unconscious tensions. UNCONSIOUS – according to Freud, a reservoir of mostly unacceptable thoughts, wishes, feelings, and memories, According to contemporary psychologists, information processing of which we are unaware. ID – contains a reservoir of unconscious psychic energy that, according to contemporary psychologists, information processing of which we are unaware. EGO – the largely conscious, “executive” part of personality that , according to Freud, mediates among the demands of Id, superego, and reality – reality principle SUPEREGO – part of personality that according to Freud , represents internalized ideals and provides standards for judgment) and future aspirations. PSYCHOSEXUAL STAGES – the childhood stages of development (oral, anal, phallic, latency, genital ) during which, according to Freud, the Id’s pleasure seeking energies focus on distinct erogenous zones. OEDIPUS COMPLEXm- boy’s sexual desires towards mother, jealousy towards father IDENTIFICATIONS – process by which children incorporate their parent’s values into their developing superego FIXATION – lingering focus of pleasure-seeking energies at an earlier psychosexual stage, where conflicts were unresolved. DEFENSE MECHANISMS – in psychoanalytic theory, the ego’s protective methods of reducing anxiety by unconsciously distorting reality REPRESSION – basic defense mechanism that banishes anxiety-arousing thoughts, feelings, and memories from consciousness. REGRESSION – Defense mechanism in which an individual faced with anxiety retreats to a more infantile psychosexual stage, where some psychic energy remains fixated REACTION FORMATION – psychoanalytic defense mechanism by which the ego unconsciously switches unacceptable impulses into their opposites. Thus, people may express feelings that are the opposite of their anxiety-arousing unconscious feelings PROJECTION – psychoanalytic defense mechanism by which people disguise their own threatening impulses by attributing them to others. RATIONALIZATION – defense mechanism that offers self justifying explanations in place of the real, more threatening, unconscious reasons for one’s actions. DISPLACEMENT – psychoanalytic defense mechanism that shifts sexual or aggressive impulses toward a more acceptable or less threatening object or person, as when redirecting anger toward a safer outlet. PROJECTIVE TEST – a personality test, such as the Rorschach or TAT, that provides ambiguous stimuli designed to trigger projection of one’s inner dynamics. THEMATIC APPERCEPTION TEST (TAT) a projective test in which people express their inner feelings and interests through the stories they make up about ambiguous scenes RORSCHACH INKBLOT TEST – the most widely used projective test, a set of 10 inkblots, designed by Hermann Rorschach; seeks to identify people’s inner feelings by analyzing their interpretations of the blots. COLLECTIVE UNCONSIOUS – Carl Jung’s concept of shared, inherited reservoir of memory traces form our species’ history SELF-ACTUALIZATION – according to Maslow, the ultimate psychological need that arises after basic physical and psychological needs are met and self-esteem is achieved; the motivation to fulfill one’s potential UNCONDITIONAL POSITIVE REGARD – according to Rogers, an attitude of total acceptance toward another person. SELF-CONCEPT – all out thoughts and feelings about ourselves, in answer to the question, “Who am I? TRAIT – a characteristic pattern of behavior or a disposition to feel and act, as assessed by self-report inventories and peer report PERSONALITY INVENTORY – a questionnaire (often with true- false or agree-disagree items) on which people respond to items designed to gauge a wide range of feelings and behaviors; used to assess selected personality traits. MINNESOTA MULTIPHASIC PERSONALITY INVETORY (MMPI) – the most widely researched and clinically used of all personality tests. Originally developed to identify emotional disorders (still considered its most appropriate use), this test is now used for many other screening purposes. EMPIRICALLY DERIVED TEST – a test (such as the MMPI) developed by testing a pool of items and then selecting those that discriminate between groups. EXTERNAL LOCUS OF CONTROL – the perception that one controls one’s own fate LEARNED HELPLESSNESS – the hopelessness and passive resignation an animal or human learns when unable to avoid repeated aversive events. SPOTLIGHT EFFECT – overestimating other’s noticing and evaluating our appearance, performance, and blunders (as if we presume a spotlight shines on us) SELF-ESTEEM – one’s feeling of high or low self-worth SELF-SERVING BIAS – a readiness to perceive ourselves favorably INDIVIDUALISM – gibing priority to one’s own goals over group goals, and defining one’s identity in terms of personal attributes rather than group identifications. COLLECTIVISM – giving priority to the goals of one’s group (extended family, work group) and defining one’s identity accordingly TERROR–MANAGEMENT THEORY – proposes that faith in one’s worldview and the pursuit of self-esteem provide protection against a deeply rooted fear of death |
Incubus – I Love You (Lionel Ritchie cover) Lyrics | 18 years ago |
“My father, they have killed me!” as he ran towards him. Dazed with fear, Okonkwo drew his machete and cut him down. He was afraid of being thought weak.” After cutting him down, Okwonkwo and his machete remained in tact raised in the air as if frozen from the death of Ikemefuna. Okonkwo’s eyes stayed focused on his targeted object and his jaw clenched and his eyes hardened. Then, with one quick motion, he jerked back, machete raised in the air and he slowly let it fall again back into the sheath held top of his left shoulder. He turned towards the men. The other men, whose eyes were focused on Okonkwo, quickly jerked their heads toward the boy and began walking towards him. “You did the good thing, Okonkwo,” one of the men said. They carried Ikemfuna’s body away to the forest because they believed The Oracle demanded this of them. Okonkwo remained in his place, gazing at the blood stained grass below him. When other men entered the forest, Okonkwo dropped his machete and fell to the ground with a blow from his knees. He grasped his face in his hands and then let them slide to his sides as he stared at the ground. “I did not want to be like my father,” Okonkwo said, turning his head towards the sky. His veins rose to the top of his skin as he grasped his machete again and went to find the men. They all proceeded back to the village. Okonkwo was the last of the men. His head rose above the others as he walked, and his arm swayed at his right side, while his left hand was clenched firmly around the handle of his machete. He did not want to look week, and he turned his eyes toward the ground in a frozen stare. |
Incubus – Happy Birthday Glen Lyrics | 18 years ago |
“It’s the truth even if it didn’t happen (8).” Living in his world of make-believe and schizophrenia, the six feet, eight inches tall Indian, named Chief Bromden, allows himself to believe that the images and things he sees are real, even though they exist only in his mind. When the story is told through his eyes, a completely surreal and cartoon-like world is created along with many “manipulations of reality (Nastu).” He wants to be free from the ward, and does not like it there, but he would rather mentally and emotionally hide than do anything about it. “Though men yearn to be free, they also fear it and wish to be dependent. Chief Bromden sits in the cuckoo’s nest because he has not the courage to face the world (Sullivan 100).” Chief Bromden uses many metaphors of things that are imagined and unseen in One Flew Over the Cuckoo’s Nest. They explain the unexplainable and act as an escape from understanding and dealing with reality. Chief Bromden retreated into a deaf and dumb act. He had everyone fooled into thinking that he was deaf and dumb. He reminisced on the reasons why he feigned deaf and dumbness and surmised that it was because that was how people treated him (McMahan). “It wasn’t me that started acting deaf: it was people that first started acting like I was too dumb to hear or see or say anything at all (198).” Many times throughout Bromden’s life he was treated as if he was completely invisible. It first started when some people came to his home to take away his tribe’s land while they said rude, selfish, and hurtful things about his lifestyle while he was standing right beside them. They acted as if “[he] wasn’t there at all,” or like he couldn’t even hear them (201). He even felt as if he were invisible within the ward. “They [saw] right through [him]” as he did his chores and pushed his broom everywhere. He felt so completely invisible that he believed the only thing the people at the ward would miss if he was gone “would be the sponge and the water bucket floating around (143).” Ellen Herrenkohl believes that Bromden being treated as if he were nonexistent is his ultimate lesson in losing his identity, and there is no better way to be dehumanized. This loss of himself made him believe that retreat into a deaf and dumb act would make things easier 0in “the hostile world of the ward (Madden 161).” Pretending to be deaf and dumb was a security and a “protection against a society which [denied] him dignity as a human being (One).” It made him feel as if he was in control of his nonexistence. This act gave him a solid, concrete excuse to not have to take action, expand his mind, or think of what life could have in store for him in his future if he attempted to find ways to escape the ward or, at least, his personal prison. Bromden “would be free to act according to his own will if he knew what he wanted, thought, and felt (Herrenkohl 115).” But instead, he acts as if he were deaf and dumb to avoid that freedom. Machinery is another thing Chief Bromden uses to describe the world in a way he understands. It allows him to make sense of his surroundings. Everything in Bromden’s world is made up of mechanist parts. He sees society as one big “Combine,” which Irving Malin says has three values: imprisonment, mechanization, and unreality. Matthew Rick describes the Combine as a “crushing, overpowering authority which squelches humanity and individuality in favor of conformity and estrangement from one’s emotions.” The Big Nurse, or Miss Ratched, is “a sure power” whom Bromden believes works for the Combine (Rick). She controls all her patients with “hairlike wires” that extend to each of them and are “too small for anybody’s eye but [Bromden’s] (26).” The patients are each made up of wires, gadgets, and parts. There are even machines working in the walls that “whirr and hum (31).” The only person that Bromden never describes in mechanist terms is McMurphy, but the rest of the ward is one big machine controlled by the combine (Semino). Although Chief Bromden’s developed an incredible knowledge of machinery in college when he studied electronics for a year and when he was an electrician’s assistant during World War II, he was lacking in understanding the “inner workings of people, and to some extent society.” Machinery was familiar to him and it describes a wide range of things in the world that Bromden lived in which he otherwise would not be able to relate to. It is described in terms of things that he would usually find “frightening or confusing, such as the hospital or others’ emotional outbursts (Semino).” He described himself and others each as “machines with flaws inside that can’t be repaired, flaws born in, or flaws beat in (21).” This thought simply allows him to believe that there is nothing he can do about anything. He has no willpower and everything is hopeless. Bromden is in denial of the fact that he and others in the ward possibly are weak, and too scared to act and formulate opinions of their own. Instead, He would rather believe that each individual within the ward, including himself, is equipped with machinery that controls everything they do. Elana Semino and Kate Swindlehurst describe this sense that Bromden lacks control over his actions and thoughts as a feeling that he is being controlled by “intangible forces” and these forces provide for him a “justification for his disorientation.” Bromden does not actually see what is inside of each individual so he discards the fact that each one is full of working human organs and a human brain, and replaces it with a more comfortable fact: everyone and everything is a machine. Chief Bromden also imagines that there is a fog machine within the ward that omits a fog he can hide in. Whenever he is feeling confused, hopeless, or nonexistent, he simply “loses [himself] in the fog (39).” In the beginning, he hates the fog, but he slowly convinces himself that “being lost isn’t so bad (126.)” Whenever he is feeling slightly optimistic he has unnatural “clarity of vision” and explains these occurrences of foglessness as times when the fog machine must have just broken down. On the contrary, when the fog is “rolling in (127)” it is associated with fear and pessimism and the belief that the machine has been fixed (Semino). He compares the fog machine supposedly inside the ward to those that were actually used in battle when he was overseas for World War II (124). Once you were out of the hatch you couldn’t’ see no more than maybe three feet in any direction. You felt like you were out on that airfield all by yourself. You were safe from the enemy, but you were awfully alone...[the fog was a] soft furry whiteness so thick that your body just faded into white below the belt. (125) The fog was so thick that he couldn’t see himself from the waist down. Basically, when Bromden was in the fog, he didn’t have any balls to get himself out. “Nobody complains about the fog. I know why, now: as bad as it is, you can slip back in it and feel safe (123).” Herrenkohl calls the fog an “actuality barrier which [Bromden] pulls down around himself to protect himself and create a cave of safety (Herrenkohl).” This cave allows Bromden to escape from something that could be “potentially threatening” like war or the ward or simply denial of himself. Because of these uncomfortable things, it gives him reason to justify his disoriented view that there is a fog machine inside the ward. The threat of these things makes him want to avoid “contact with the environment (Semino).” He feels that if he remains in an invisible state, he himself is invisible, and nothing he does will matter. Herrenkohl explains this by saying that “to see clearly, to be seen clearly, is to be vulnerable. To admit to oneself one’s feelings and one’s perceptions is to be open to disappointment, to fear, to rejection, to rage, to guilt, to tragedy.” Bromden is vulnerable; he feels vulnerable. In order to escape he retreats into the nonexistence in the fog. Randall Patrick McMurphy eventually leads Chief Bromden out of the fog, machinery, and denial. He is the only one that Bromden perceives that isn’t made up of controls and parts (Semino). “McMurphy is the one who induces the ‘psychosis’ in Bromden, the one who ‘turns him on’ and forces him to confront the Combine and the ‘fog machine (Sherman 149).’” At first, Bromden is hesitant of the intentions of McMurphy, the sex-loving, hard-working, fighting, gambling man, who decided to come to the ward instead of staying at the work farm that he was at before. McMurphy gets mad at everyone for being too “chicken-shit (113).” He is completely disappointed in them and goes along to prove something by betting that he could lift a massive control panel that “probably weighs four hundred pounds,” and throw it out the window (121). His veins squeeze up to the surface and he even bloodies his hands while his “whole body shakes with the strain as he tries to lift something he knows he can’t lift, something everybody knows he can’t lift.” Finally, he turns to walk out and says, “But I tried, though. Goddammit, I sure as hell did that much, now didn’t I (121)?” After that, Bromden realizes that McMurphy is the most unselfish person he has ever known, and every man on the ward depends on him for self-actualization. Bromden was plagued by a yellow-toothed “hungry-looking guy” on a different ward who kept yelling at him to “look me!” Bromden finally understood what McMurphy must have been going through and wondered how he kept going so positively “plagued by a hundred faces like that, or two hundred, or a thousand (266).” Everyone needed him and McMurphy knew this. He is there for all the “self defeated patients who have let society’s label destroy them (Klinkowitz 122).” McMurphy wanted Bromden and the other men to step out and do something. If they wanted something, go get it, and if they wanted to say something, say it. He alone made Bromden feel like he was not invisible, deaf, dumb, or weak. He wanted everyone to begin to wake up and realize that there was another way. According to Jerome Klinkowitz, “McMurphy is advocating a proletarian revolution of the mind; it is his new valuation of the terms of life which makes him a threat” to the ward. He is “inventing a new way of perceiving reality, which is nothing less than a new reality itself.” With McMurphy’s conscious as well as unconscious help, Bromden was able to slowly find himself again. Chief Bromden was the master hider. Not only did he hide from the real world by faking his deafness and dumbness, but he hid from himself. He denied the fact that he wasn’t a machine and he retreated into the fog where he would not have to think, or be seen. Finally, Bromden realized that “You had a choice: you could either strain and look at things that appeared in front of you in the fog, painful as it might be, or you could relax and lose yourself (125).” In the end, Chief Bromden chose the former. He had been lost for so many years already he did not need to “[be] away” any longer (311). It is fogging a little, but he “won’t slip off and hide in it. No…never again (275).” Never again would Bromden lose himself in his invisible world and his false reality. Works Cited Herrenkohl, Ellen. “Personal Identity and Spiritual Rebirth.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (109-115) Kesey, Ken. One Flew Over the Cuckoo’s Nest. New York: The Viking Press, 1964 Klinkowitz, Jerome. “McMurphy as Revolutionary Hero.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (123-125) Madden, Fred. “Big Chief as Narrator and Executioner.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (52, 60-61) Malin, Irving. Ken Kesey; text and criticism. Ed. John Clark Pratt. New York: Penguin Group, 1996 (442-443) McMahan, Elizabeth. “A Sexist Novel.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (81) Nastu, Paul. “Kesey’s One Flew Over the Cuckoo’s Nest.” Heldref: 1997. EBSCOhost “One Flew Over the Cuckoo’s Nest Ken Kesey 1962 Novel.” Magill Book Reviews: 2006. Rick, Matthew. “Tarnished Galahad: The Prose and Pranks of Ken Kesey.” Semino, Elana, and Kate Swindlehurst. “Metaphor and Mind Style in Ken Kesey’s One Flew Over the Cuckoo’s Nest.” Northern Illinois University, 1996. Sherman, W.D. “Bromden’s Spiritual Journey.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (147-151) Sullivan, Ruth. “Kesey and Freud.” Readings on One Flew Over the Cuckoo’s Nest. Ed. Lawrence Kappel. California: Greenhaven, 2000. (100-101) Thesis: Chief Bromden uses many metaphors of things that are imagined and unseen in One Flew Over the Cuckoo’s Nest. They explain the unexplainable and act as an escape from understanding and dealing with reality. I. Deaf and Dumb A. Why did Bromden fake Deaf and Dumbness 1. Others 2. Hiding B. What was the result 1. Loss of self 2. Loss of freedom II. Machines A. What does Bromden see as a machine 1. People 2. The Ward B. Why Bromden uses machine imagery 1. Understands machines 2. Explains unexplainable III. Fog A. When does Bromden use fog imagery 1. Pessimism 2. Vulnerability B. Why does Bromden use machine imagery 1. Escape 2. Hide IV. Randall Patrick McMurphy A. Who is McMurphy B. What McMurphy does 1. Stops Bromden from hiding 2. Helps Bromden find himself |
Incubus – No Scrubs (TLC cover, Live version) Lyrics | 18 years ago |
Brittney Engel Thesis: Imagination and things unseen are themes used in One Flew Over the Cuckoo’s Nest as a security to explain the unexplainable and as an escape from understanding and dealing with reality. I. Deaf and Dumb A. It is an escape from dealing with reality. B. It is a result of the past. 1. Chief’s childhood Story 2. McMurphy’s childhood Story II. Cartoons A. They show people as cartoons. B. They explain things that seem unreal. 1. Nurse Ratched 2. Fights in the ward C. They give a comical approach to terrible events. 1. Swelling hands 2. Truck imagery 3. Sliding down wall III. Machines A. They show people as Machines B. They show the ward as a Machine 1. Combine 2. Invisible Mechanical devices within ward C. They give reasons for things that happen on the ward D. They are used because Chief Bromden understood machines better than people IV. Fog A. It is used as an escape from reality and not dealing with the issues at hand. B. It diminishes after Chief Bromden owns up to his existence. V. Glass A. It shows a breakthrough of things unseen. B. McMurphy owns up to reality. |
Hawthorne Heights – Dead in the Water Lyrics | 18 years ago |
what do they mean about "trying out my fangs" and so on? |
Hawthorne Heights – Dead in the Water Lyrics | 18 years ago |
what do they mean about "trying out my fangs" and so on? |
Hawthorne Heights – Dead in the Water Lyrics | 18 years ago |
what do they mean about "trying out my fangs" and so on? |
Incubus – 11am Lyrics | 18 years ago |
Mr. Townsend clearly does not understand that he is using a punisher as a reinforcer for his students. This type of operant conditioning diminishes good behavior in his students, making them even worse, and of course, more unruly. Mr. Townsend could use a negative reinforcer to reduce the students’ disruptive behavior. An example of this would be for him to take away points from their grades if they are disruptive. This will reduce their disruptiveness. Lastly, Mr. Townsend could use a positive reinforcer to increase his students’ cooperative behavior. He could add points to their scores if they cooperate and are good in class. This will increase their cooperativeness. |
Incubus – 11am Lyrics | 18 years ago |
Brittney Engel Is there a time in which one simply gives up hopes that are in vain; Dreams that hinder instead of progress ones life? Fitzgerald used the over exaggerated shallowness of the people and culture of the 1920’s to show his interpretation of the American Dream. He tells of the vain dreams of men, especially displayed by Gatsby. This theme is carried throughout The Great Gatsby’s entire text. “Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter – tomorrow we will run faster, stretch out our arms further.” In the close reading of these lines, deeper meaning can be found, stretched, and analyzed to give further understanding to what Fitzgerald may have wanted his reader’s to understand. “Gatsby believed in the green light…” He didn’t only hope and dream about it, but he believed in it. It was his existence. Everything he had or did was because of his past love with Daisy Buchanan and he thought that he could make her a part of his life again. Gatsby had taken himself from nothing and made himself great because he believed he could. In the same way, he believed he could make Daisy a part of his life. Gatsby thought of Daisy when he saw “the green light.” The fact that the light was green is significant because green means “Go.” It implies no intent to ever stop until it turns red. Just as the Buchanans light will always remain green, so will Gatsby’s goal. He will never stop persuing it. The “future” is “orgastic” to Gatsby. Orgastic refers to wonder and excitement, and he found in Daisy Buchanan those qualities. “...there was an excitement in her voice” Men like Gatsby found it “difficult to forget.” In it there was a “promise that she had done gay, exciting things just a while since.” This is exactly why Gatsby always dreamed of her. She had an aura about her that kept him wanting more and anticipating the future. She gave him the feeling that there were “exciting things hovering in the next hour.” Despite Daisy’s way of always seeming achievable and more exciting, as time goes by the chance of Gatsby actually obtaining her recedes. This perfect future “year by year recedes. It doesn’t recede by days, weeks, or even months…but years. It makes it seem as if the pursuit will never end. Year by year it recedes and year the pursuit will continue. If the exciting future that Gatsby sees for himself has not vanished after years, then when will it ever vanish? He uses everything in himself to chase something that moves ever farther away. Fitzgerald did not end the sentence with recedes, but with “before us.” It doesn’t just recede and become more of an impossible goal, but it recedes before us. It is blatantly going farther and farther away right in front of Gatsby’s eyes and still he pursues it. This idea continues with the word eluded. “It eluded us then.” Elude can mean escape or avoided. In this case, the reality and chance of Daisy becoming Gatsby’s had already escaped. Elude can also mean undiscovered. Gatsby had not yet discovered his goal. It hadn’t been reached. The word “then” means the past and the past escaped Gatsby when he lost Daisy and so his hopes and visions of the past are directly related to what drives him to again have Daisy in his future. The past functions as a source of Gatsby’s ideas about the future. Even though Gatsby’s dream had eluded, “that’s no matter.” Even though it was hopeless Gatsby still believed he could have Daisy. He believed he would have Daisy. It is this false reality of his that in the end became the death of himself. His vain hope (Daisy) eventually ended up killing him, leaving behind him a completely void unfulfilled life. “Tomorrow,” not today, but tomorrow the chase of nothingness will continue. It will always be tomorrow. Fitzgerald did not start the sentence with We. He started it with tomorrow because he was trying to get a point of never ending across even more. There is always tomorrow. And when tomorrow comes and it is today there will be another tomorrow. Gatsby’s chase would never end. One cannot look past the words “we and us” that Fitzgerald used. He did not say “Gatsby” but we and us. Gatsby was used as the protagonist throughout the book, but he was also used as an example of many people who attempt to live out their American Dreams. Despite everything: the hopelessness, the vainness, the shallowness of our dreams, “we will run faster, stretch out our arms further.” But for what? In Gatsby’s case, for nothing. This can be said of any people who attempt to capture many of life’s impossible goals. |
Emery – Studying Politics Lyrics | 18 years ago |
It’s in the way you sell every word and phrase And leaving me to know how much the meaning weighs I LOVE THOSE LINES... so many times people just lead you on and lie and say things that get your hopes up, but you can never quite figure them out |
Cannibal Corpse – I Cum Blood Lyrics | 18 years ago |
pretty sure idiot .box is completely correct...im sure CC has tea parties with their mommies before each concert while they play some TWISTER and tell silly jokes and wipe their mommies lipstick off them b4 they walk onstage |
Cannibal Corpse – I Cum Blood Lyrics | 18 years ago |
OK SERIOUSLY this is the most disturbing pile of garbage ive ever heard? ok so all you people that think your so hardcore and think that people that bitch and moan about this shit are just dont know their shit...but come on are you serious? cumming blood into a dead chick and licking her fucking anus...(excuse me while i vomit) i think this writing this song was pretty much just as much of a crime as committing the deed... in not one single way is this talent NOT ONE so get over your "hardcore" selves or just go cum blood or something...what signifigance does this song have to some of your warped people...(does it inspire you to go dig up a corpse and rape it?? ROCK ON!!!! ALL YOU CRACKED OUT FREAKS!!) PLEASE explain this to me? what the fuck are you thinking...go listen to emery or something |
Something Corporate – Konstantine Lyrics | 18 years ago |
this is because i can spell confusion with a K and I can like it.... (KONFUSION) ya i def like it seriously need i say more...how much do those simple genius words rock?? |
Emery – Walls Lyrics | 18 years ago |
bigpun7138 has it right...sorry guys |
Something Corporate – Me And The Moon Lyrics | 19 years ago |
so does she kill herself or does she kill her husband??? seriously |
Jack Johnson – Situations Lyrics | 19 years ago |
kinda confused about this one because obviously he just needed to finish this one cuz it coulda been so great but even tho i cant even figure out what the little bit of it means i think that maybe the last part situation number four the one that left you wanting more tantalized you with its bait could be directed at the listeners because it left us wanting more and kind of brought anticipation for more but then ...nothing but why would he torment us like this? y jack? |
Breaking Benjamin – Firefly Lyrics | 19 years ago |
I love this song so much and its so unique! but will someone please explain to me the frist lines You my friend, you're a lot like them but I cut your line and you know I did ...? |
Radiohead – High and Dry Lyrics | 19 years ago |
This song is basically saying that this person left them high and dry because they changed and decided to get recognition and turn into something they werent before and "Oh its the best thing that you ever had Best thing that you ever ever had Its the best thing that you ever had Best thing you ever had has gone away" and these lines are saying that this new thing (popularity/recognition) is the best thing theyve ever had, but the last line says actually the best thing he ever had has gone away...so becoming something your not really took away the best thing...himself and probably his friend too... this happened to me so this song has a really big meaning for me |
Incubus – A Certain Shade of Green Lyrics | 19 years ago |
ok, is it possible for incubus to be any more genius? i mean here everyone is thinking its about marijuana and street lights and hell it all makes sense..and all this mayan stuff and how the sky will turn green on 2012 and all that im sure thats the basis of the song. did it ever cross any of your minds that yes it IS about the mayan stuff, but brandon is such a damn good song writer that you can take it in more than one context...i mean that is what quality song writing is people when you can take something like the mayans and get the fact out of that and turn it into this awesome song that can have so many different meanings...no one beats incubus |
Something Corporate – Me And The Moon Lyrics | 19 years ago |
what exaclty does "i am a butterfly but you wouldnt let me die" mean... doesnt that just totally contradict what they are trying to say...shouldnt it be but you wouldnt let me fly or something...can someone please explain this to me? |
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