Types of Phobias Essay Example for Free

Types of Phobias Essay Our psychics still stands very far away from the complete understanding of the processes that take place inside our mind. One of the striking evidences for this statement is the widest variety of fears that quite often enthrall people, and what is more, there are no easy ways to find any reasonable explanation to expand their origin. However, this problem is widely discussed in psychology and there is a special term to denote strong fear, aversion or terror, phobia. Anyone can be affected by phobia – even celebrities such as Nicole Kidman who is afraid of butterflies, Johnny Depp who is terrified of clowns, and Christina Ricci who is scared of sharks in the swimming pool. In this essay we shall describe a number of different instances of phobia and illustrate that generally they can be divided into to types, namely those which fall under rational explanation and respectively those which are based on deep psychological roots and defy any rational interpretation or explanation. Exactly the complexity and even sometimes impossibility to explain certain phobias, together with the need to apply an individual approach to examine each such case allows us to assert that our psyche and mental activity still is full of uncountable mysteries. Hundred thousands or even millions of people all over the world suffer from acrophobia or in other words the fear of heights. Basing on evidences and psychological studies this is likely to be the most spread form of phobias. Many of us have met people who feel petrified staying on an absolutely safe balcony of the skyscraper. So these are the apparent victims of acrophobia. There is little or no distinction between this kind of phobia and bathophobia, fear of depths; both involve fear of falling. The both forms of phobia have a simple rational explanation. Height and depth contain certain potential danger for a person. What helps realize this danger is person’s instinct for self-preservation, which compels a person to leave potentially dangerous place. However, in some cases the instinct for self-preservation transforms into exceptionally acute form, known to us as phobia. Another instance of phobia is arachnophobia or fear of spiders. Unlike the phobias discussed above this kind of fear is not related to the possible danger for life and cannot be explained by any reasonable means. To understand this phobia nature let us illustrate the particular case described in the newspaper Daily Record. Carol-Ann Swanson has been scared of spiders since she was a girl. At the age of 29 she admitted her tendency to scream and run away from anything that looked remotely like a spider and understood it was not quiet a normal thing for a psychiatry worker, so she decided to find the reasons for her fears. The psychoanalysis brought her back to her childhood when Ann’s older brother used to get her to close her eyes put a spider in her outstretched hand. Later that fear became a firm phobia in primary school. The teacher found out she was scared so she put a poster of a huge spider on the wall and asked her to touch it. The whole class discussed her fear, so it made her feel really embarrassed. Even the pom-pom spiders that hung from the classroom ceiling were terrifying. Thus we can see that in this given example through thorough psychological analysis one can derive the origin and explanation of the phobia. Nevertheless, there is a huge number of phobias which cannot be so easily interpreted of studied. For instance, if a lot people do not often feel very happy when seeing a spider then arachnophobia does not seem too abnormal phenomenon. However, such phobias like ailurophobia (fear of cats), koniophobia (fear of dust), anthophobia (fear of flowers), aurophobia (fear of gold) are considerably more complicated for interpretation. The problem of phobia origin still contains a lot of undiscovered facets. Among them the specialists (Kleinknecht R.) underline the following: Why some people at certain circumstances suffer from phobia and others do not? Why a person cannot overcome his or her phobia by the understanding that this fear is groundless? Are there any universal methods applicable to all people suffering from phobia? While there are no direct answers to these questions there is a strong need to apply individual approach to study each particular instance of phobia. The difficulty and sometimes even the helplessness in dealing with phobia gives the grounds for claim that our mind and mental processes occurring there still present a lot of riddles to be solved. References: Kleinknecht, Ronald A. Mastering Anxiety: The Nature and Treatment of Anxious Conditions. New York: Insight Books, 1991. Does This Tarantula Scare You? Amazing irrational fears that plague so many terrified victims; The like Carol-Ann You Are One of 50,000 Scots with a Phobia. Lifestyle Coach Alastair Campbell Helps Her Face Her Demons. Daily Record (Glasgow, Scotland) 2 Mar. 2005. Biography.ms. Retrieved on 22 Jan. 2006 from http://www.biography.ms/List_of_phobias.html

An Analysis of Yeats’ An Irish Airman Foresees His Death Essay

An Analysis of Yeats’ An Irish Airman Foresees His Death It is an unspoken assumption that when a country goes to war the men fighting are honored and also that there is a large amount of support given to the soldiers from that particular community.   What is often over-looked is the fact that many of the men, who are partaking in battle, are in fact, boys who do not even know what they are fighting for.   Also, the community is not always supportive and helpful unless they see a personal benefit that will affect them in a positive way as an outcome of the war.   In â€Å"An Irish Airman Foresees His Death†, Yeats introduces us to a man who is fighting in the war, not knowing what he is fighting for.   Yeats also shows us, from a soldier’s view point, how a soldier feels while defending a country he does not feel any loyalty to, and how a soldier views the community he is laying his life on the line to protect. It is apparent immediately in the beginning of the poem that this airman has a very bad attitude about the way this war is going.   â€Å"I know that I shall meet my fate, Somewhere among the clouds above† (Yeats 154).   The airman is saying that he knows, or senses, the fact that he will not make it out alive of this war.   The reference made to â€Å"the clouds above† is simply reinforcing the fact that he is an airman in the war.   These first two lines really set the tone for a poem that turns out to be a very somber, depressing piece of work.   These two lines are symbolic of the airman’s attitude and take on life in general. The third and fourth lines of the poem, â€Å"Those that I fight I do not hate, Those that I guard I do not love† (Yeats 154), tell us how he feels about the soldiers he is fighting against, and also how he feels a... ... signs on life worth living in himself and sees no hope for a world where young men can sacrifice themselves for the good of their country, and in response, get virtually no response from the citizens at large. This poem was written in memory of Lady Gregory’s son, Major Robert Gregory, who died on the Italian front in January of 1918.   Its purpose is to show how damaging war can be and how unjust much of what happens during a war actually is.   It does not make sense that a soldier may not even like the people he is fighting next to, and that he may be able to relate better to the enemy than to his own troops.   Yeats, by writing this poem, made the reader conscious of the negative aspects of war. Works Cited Yeats, William Butler.   â€Å"An Irish Airman Foresees His Death.†Ã‚   Contained in, Norton Anthology of Modern Poetry, 2nd ed.   New York, New York:   1988.

“Here” by Philip Larkin Essay

Write a close critical analysis of ‘Here’ showing how far this is characteristic of the style and concerns of Larkin’s collection ‘The Whitsun Weddings’ ‘Here’ is a poem exploring Larkin’s flight of imagination as he travels from London to Hull on the train. It is the first poem in The Whitsun Weddings collection and seems to be an appropriate introduction because, much like his other poetry, it looks at humanity’s place in the world and the effect of consumerism. Following the pattern of many other poems in this collection, ‘Here’ begins with physical ideas of ‘rich industrial images’, before becoming more abstract in the final stanza. By beginning the poem with the participle, ‘swerving’, Larkin immediately gives the reader a sense of the moment being suspended in the present, before an unpredictable, fast movement, which is not usually associated with travelling on a train. The word itself is sudden, describing an immediate action and repetition of this throughout the first stanza emphasises this sensation, creating a feeling of Larkin’s thoughts being free and unrestrained. The beauty of this movement is then contrasted by the sharp sounds of the ‘thin and thistled’ fields, bringing attention to the change in surroundings, from the town to the countryside. By listing what he sees from the window of the train – ‘scarecrows, haystacks, hares and pheasants’ – Larkin constructs a series of moving rural images that contrast to the earlier industrial descriptions of ‘workmen at dawn’. The sibilance on ‘haystacks, hares’ increases the rhythm of the poem and represents the movement of the journey of the train. As well as this, the constant and repetitive use of ‘and’ in this stanza creates a feeling of the images continuing forever, without stopping. This is further emphasised by the fact that the poem is all one sentence that is not end-stopped until the final stanza, resulting in the feeling of building tension and pressure. In the last two lines, Larkin further explores the beauty of the countryside. He creates a sense of the fields opening up with ‘the widening river’ and its ‘slow presence’ along with the ‘piled gold clouds’, gives a feeling of dignity and a suggestion of heaven, while the lengthened assonance slows the  pace of the meter, further adding to this peaceful atmosphere. Larkin’s transition from the rural area shown in stanza one, to images of urban activity in stanza two come as a shock. The ‘domes and statues, spires and cranes’ creates a sense of bustle and closeness in the town, which contrasts to the beauty of the ‘shining gull-marked mud’ previously described. The word ‘cluster’ is welcoming, giving the sense of intimacy and an impression of everything being pulled together in a rich concentration. This idea is taken further with the introduction of ‘grain-scattered streets’ where there is a feeling of abundance. However, Larkin quickly explodes this sensation with the introduction of more contemporary buildings with ‘plate-glass swing doors’, creating the feeling that the town is modernising and on the axis of change. At this point we start to see parallels with other poems in The Whitsun Weddings. In both ‘The Whitsun Weddings’ and in ‘Sunny Prestatynâ €™, for example, he condemns the nature of commercialisation. â€Å"Parodies of fashion† and â€Å"nylon gloves and jewellery substitutes†, from ‘The Whitsun Weddings’, criticises the nature of consumerism and parallels Larkin’s words in ‘Here’. We get the impression that Larkin does not like the advancement and change occurring in the town. The phrase ‘flat faced trolleys’ seems blunt and unappealing, while ‘raw estates’ suggests something unfinished, without polish and out of place. By listing products, Larkin implies that consumerism is addictive; ‘cheap suits, red kitchen-ware, sharp shoes, iced lollies, electric mixers, toasters, washers, driers-‘, creates a sense of the products building up. By using commas, instead of ‘and’, Larkin enhances the meter of the poem to give a staccato effect and a build in tension. He does this to emphasise the consumer’s obsession with material goods and enhances this affect by shortening the length of s yllables in each word as the list progresses. Reflecting his ideas in ‘The Whitsun Weddings’ – where he describes the reverse journey to ‘Here’, travelling fro London to Hull – Larkin further denounces consumerism with the callous words in stanza three, ‘a cut-price crowd, urban yet simple’. This relatively dismissive tone relates back to the earlier images of ‘raw estates’ giving the impression that the people living in these urban areas are not sophisticated. The phrase ‘cut-price  crowd’ is made up of hard, harsh sounds, but this is contrasted by the following words, ‘yet simple’, which has an affectionate tone for the uncomplicated people. Following this, the word ‘dwelling’ appears comfy and suggests affection for the inhabitants, which reminds us of the warmth Larkin shows towards the earl and countess, in ‘Arundel Tomb’. We get a sense of the town spreading out and growing with the ‘mortgaged half-build edges’ and the ‘isolate villages’, showing that consumerism is engulfing the entire area. This is taken further with the words ‘where removed lives/loneliness clarifies’ which is split across the two stanzas and finally end-stops the 27 line sentence. Through this separation, Larkin uses enjambment to draw our attention to each word, therefore, showing the shift of perspective and pace. The word ‘clarifies’ strips away any confusion or doubts, demonstrating how unblemished the rural areas are. By containing the first three stanzas within one sentence, Larkin creates a sensation of the reader travelling with him on the train. This long sentence juxtaposes the sudden short, monosyllabic sentence in the final stanza – ‘here silence stands like heat’. The long vowel sounds in this sentence create a sense of peace and freedom. This contrast in sentence length is symbolic of the journey, which is enhanced by the use of iambic pentameter throughout the poem. For the first three stanzas, the pentameter is flawless, adding to the sense of constant and rhythmic movement. However, in the last stanza, it is more erratic, lines like â€Å"luminously peopled air ascends† fall a few syllables short of the constant rhythm throughout the rest of the poem, showing that Larkin is a little unsettled. The final stanza gives the reader a shift in tone, from fast paced, to slow and reflective, through twists of syntax. This reminds us of the final sentences in â€Å"Mr Bleaney† – ‘should make him pretty sure he warranted no better’ where the tone is also changed suddenly. In this stanza, the poem becomes more abstract and repetition of ‘here’ slows the rhythm down, giving significance to the moment. ‘Luminously-peopled air’ is mysterious and suggestive, taking us away from the brilliantly captured images earlier in the poem towards a vague and suggestive tone. Alongside this, use of words such as ‘unnoticed’, ‘hidden’ and ‘neglected’ stresses the absence of people  and creates a sense of nature being unwatched. ‘Hidden weeds’ gives the impression that they are private, which contrasts to the earlier images of busy consumerism. The final line is particularly poignant, ‘here is unfenced existence’, stating Larkin’s main message that even when we die, nature will still be there. Similar to in ‘Dockery and Son’, Larkin suggests his terror of death and feeling of dread at descending into oblivion when life ends. ‘Here’, reflects Larkin’s main message throughout The Whitsun Weddings of disenchantment with industrial advancement and the age of consumerism. By using long sentences and enjambment throughout the poem, Larkin creates a sense of building tension and alongside this, much like his other poems in this collection, ‘Here’ moves from physical ideas to the abstract. This results in an overall message echoing his views towards life and society.

Iso 260000 Guidelines For Employees And Organizations On...

ISO 260000 ISO 26000 are guidelines available for businesses and organizations on how they can operate responsibly toward people, profits and planet. Effective management is when these three elements are balanced out and used to formulate business strategies that could bring long-term solutions. It’s good news that Waste Management’s mission already promotes practices, services and operations that persuade alternatives to have strong personnel relations that generate profits while reducing the extractions of resources and preserving the environment. The ISO 260000 guidelines consist of clauses; Clause 5 does emphasis on recognizing social responsibility and engaging stakeholders. In order to provide guidance on the expected relationship between people, planet, profit and the organization, the objective is recognize the core subjects and current issues (ISO, 2010, para. 10). Clause 6 of 260000 is focused on the guidance of social responsibility core subjects by explaining its relationship to social responsibility and associated issues (ISO, 2010, para. 10). Clause 7 provides guidance on integrating CSR throughout in the organization by helping personnel understand its importance, so it can easily be implemented and communicated to improve companies’ reputation and performance. (ISO, 2010, para. 10). This paper provides communication pieces that announce a plan to implement clauses 5, 6, and 7 of ISO 260000 in Waste Management Inc. Internal Communication In order to recognize