Monday, January 27, 2020

In Depth View The Valley Of Unrest English Literature Essay

In Depth View The Valley Of Unrest English Literature Essay The poem gives a sense of the few emotions that one feels first and foremost at delving into the world of Gothic. Fear. Horror. Tragedy. Solitary. Turmoil. But are they really enough to understand it? Gothic as a genre is far from simple interpretation. To that fact none are. The explanation for the word Gothic is simpler though. UC Davis  University Writing Program teaches about Gothic novels by first and foremost establishing the origin of the word Gothic. Although now gothic is popularly associated with literature and architecture, this misconception has to be set right. Its origins lie with the tribals. The Goths were one of the many Germanic tribes who fought numerous battles with the Roman Empire for centuries. According to their own myths, as recounted by Jordanes, a Gothic historian from the mid 6th century, the Goths originated in what is now southern Sweden. They reached the height of their power around 5th century A.D., when they sacked Rome and captured Spain, but their history finally subsumed under that of the countries they conquered. The association with architecture can be owed to the period of Renaissance. During this time Europeans rediscovered Greco-Roman culture and began to regard a particular type of architecture, mainly those built during the Middle Ages, as gothic not because of any connection to the Goths, but because the Uomo Universale (translates to universal man) considered these buildings barbaric and definitely not in that Classical style they so admired. The term Gothic, when applied to architecture, has nothing to do with the historical  Goths. In a British context it was even considered to extend to the Reformation in the sixteenth century and the definitive break with the Catholic past. Gothic broke the norms and thus acquired the name. Another strand of thought says that Gothic literature earned the name because all the novels seemed to take place in Gothic-styled architecture mainly castles, mansions, and, abbeys. The w ord is now used to describe an architectural style and, as a derivation of that, a genre of literature based on dark deeds in crumbling gothic mansions and castles is an intriguing mix of the two theories proposed by UC Davis. Defining the genre does not end there. Jerrold E.Hogle calls it an unstable genre. Gothic seduces, overpowers, confuses and blends not just the readers as well as other genres. Gothic as a genre comprises elements of mystery, horror, dark, tragedy things that disturb the normal and its perceptions. Romance is not what the mind grasps for while thinking of gothic. But that is what one needs to be aiming at even after preliminary studying. Be it your simple Wikipedia search that tells you Gothic fiction  is a genre of literature that combines elements of both  horror  and romance or a scholarly article which states Gothic fictions oscillate between the earthly laws of conventional reality and the possibilities of the supernatural emphasizing the difference between horror and romance as genres while reflecting on the common ground that has been christened Gothic. Horror predominantly is associated with Gothic genre eclipsing romance but that is not really the whole picture. Websters Collegiate Dictionary gives the primary definition of horror as a painful and intense fear, dread, or dismay. A genre of literature intended to thrill readers by provoking fear or revulsion through the portrayal of grotesque, violent, or supernatural events is Horror. Blood curling yes but it becomes heart wrenching as romance is dashed into the story line. Romance writers of America state that the two basic elements that comprise every romance novel are a central love story and an emotionally-satisfying and optimistic ending.  On the other hand, Janice Radway who popularized Romance beyond the usual feels the genre is assisted by the use of clichà ©s, uncomplicated syntax, and signifiers which utilize familiar cultural elements. This further strengthens the different poles of studying horror and romance but gothic brings with itself amalgamation of the peaks a nd lows of the other styles. Gothic can be termed a mixed or hybrid genre. In the contemporary world no genre can be strictly defined. Each genre transcends its boundary to join hands with another to prove more entertaining. Action meets tragedy, comedy with romance and so on and so forth. This is the case with gothic. Kelly Hurley in The Cambridge Companion to Gothic Fiction resists calling the genre gothic horror and defines it as a genre comprised of texts that have been deemed popular; that deploy sensationalist and suspenseful plotting; that practice narrative innovation despite the frequent use of certain repetitive plot elements; that depict supernatural or seemingly supernatural phenomena or otherwise demonstrate a more or less antagonistic relation to realist literary practice; that actively seek to arouse a strong affective response (nervousness, fear, revulsion, shock) in their readers; that are concerned with insanity, hysteria, delusion, and alternate mental states in general; and that offer highly charged and often graphically extreme representations of human identities, sexual, bodily and psychic. This definition itself displays the heavy dose of horror in gothic but romance is not far behind. Fred Botting said that gothic is an exploration of mysterious supernatural energies, immense natural forces, and deep, dark human fears and desires that gothic texts apparently found their appeal. The appeal and identity of gothic relies on the dark according to him. This can be construed to be true to some extent. Gothic can be considered investigative literature as well of some puzzling entities. It can be as simple as a haunted house at the end of the road or a monster formed on legend that inhabits the marsh in the town forests. Gothic is often explained as a representation of the unsaid or hidden. Fears and anxieties that one may wonder about can be found in various gothic texts. This is the uniqueness of gothic. In general, the deep fears and longings in western readers that the gothic both symbolizes and disguises in romantic and exaggerated forms have been ones that contradict each other, and in such intermingled ways, that only extreme fictions of this kind can seem to resol ve them or even confront them. This explanation strives to keep a bridge between horror and romance. It forms its basis on the bizarreness of some of the thoughts can simply not be explained by one genre and requires two. The polarity of thought can be made sense by reading the diametrically opposed genres as one i.e. Horror + Romance= Gothic. Professor John Lye proposes that as the immediacy of the Holy threatened to disappear from the culture in the later 18th century the period was marked by literary expressions of the sublime, of the mysterious, and of the strange; by a return to the imagination of the mediaeval that marked pre-romantic period, so that the mediaeval was the place of historical reference and allusion. She says romance took two main forms in the English novel in the early part of the 19th century: Gothic Romance and Historical Romance. Gothic romance specialized in symbolic exploration of the unconscious through the strange, the haunting, and irrational. Like many romances the Gothic tended to be set in distant lands or on barren, threatening countrysides. Gothic romance exposed and dealt with deep anxieties in persons and the culture. Gothic set out to expose and deal with the consciously ignored. Heathcliff in  Wuthering Heights, for instance, is a dark foreigner and hence culturally the Other, that against which we define and defend our humanity and civilized state, he a man with no parentage, a waif from the slums of Europe; and he is a figuring-forth of the force and terror of evil and of the irrational, a force of energy without civility. He is inexplicable but compelling because he sums the fears of his time and, to an extent, ours. Frankensteins monster showed us the terrors that scientific interference in the holiness of the human held for us. Science has and always will be viewed as a necessary evil. Fr ankenstein in its very element embodies this statement with strokes of darkness. Hawthorne of The Scarlet letter fame defined this breed of romance as a place of more mystery, less specific description of concrete reality, a place where, if you will, both elemental and spiritual forces could be put in play in a landscape that was full of symbolic, almost allegorical, potential. Today romance is generally associated with the strange and mysterious, the adventurous, with the lure of foreign lands, with something slightly magical, with a story which refuses to be tied to the realist tradition and explores phenomena which are unusual, allegorical, and symbolic. Increasingly being stated is that Romance and horror form Gothic. They together have changed the perception of gothic from a horrifying sight of that which was most unbearable in a culture to recognition and embrace of the monster as the image, the inner, often denied aspects of us. Gothic follows the first law of genre according to Robert Miles which is to deviate and make it new. Horace Walpole followed the golden rule and identified gothic as a genre through his work. Hogle remarks on the pliability and malleability of this type of fiction making has proven to be stemming as it does from an uneasy conflation of genres, styles, and conflicted cultural concerns from its outset. The Castle of Otranto is looked at as the first gothic novel and its entry initiated a new literary genre namely gothic. It was first published in 1764 and simply changed the meaning of gothic. Before Walpole it was almost always a synonym for rudeness, barbarous, crudity, coarseness and lack of taste but due to Walpole the word assumed two new key meanings: first, vigorous, bold, heroic and ancient, and second, quaint, charming, romantic, sentimental and interesting. First the book was advocated as a blend of the two kinds of romance, the ancient and the modern, the former all imagination and improbability and the latter governed by the rules of probability connected with common life. He wished to bridge the gap between the romances of old which were according to him all marvel and wonder, and the realist romance of his own day. In this comparison he refers to his own cross between medieval chivalric romances and neoclassic tragedies oriented towards the old aristocracy, on the one hand, and the newly ascendant bourgeois novel directed in its comic elements and probabilities of common existence on the other hand. The second editions preface constitutes a manifesto for a new species of romance. With this edition he came forward as the author of Otranto. The year was 1765. The manifesto was a set of rules which if not for him would have in all probability been dismissed as a piece of eccentric whimsy. Castle of Otranto spearheaded a revolution in the world of medieval literature. It served as the direct model for an enormous quantity of novels written up through the first quarter of the nineteenth century. Once a successful formula was established it was done to death. Robert Miles talks about the terrorist system of novel writing. This system was supposed to bombard the senses of the readers. It was deemed to be different form horror. Ann Radcliffe even said terror expands the soul and awakens the faculties to a high degree of life. She states further that terror is pleasurable because it is cloaked in obscurity and mystery while horror is graphic and unequivocal. Due to the success of Gothic fiction the literary world witnessed a shocking increase in the imitative works although this only indicated the high level of consumption it also ended up giving birth to the terrorist novel writing. The time was after 1790 and this form of writing was a satirized form of the perceived system for writing Gothic Romances. Terror writing survived but sooner than later became eclipsed and Gothic emerged again. Gothic never limited itself. The eighteenth century gave way to Victorian gothic which in turn opened doors to Modern gothic. Post modern gothic, female gothic, gothic science fiction, postcolonial gothic, urban gothic and queer gothic are just a few examples. The basic elements of gothic were incorporated in various plots and added to the multiplying strands of gothic. Many scholars have identified a few elements that are mandatory in any gothic text claiming or aiming to be gothic. Elements of Gothic Novel by Robert Harris state the obvious rudiments of Gothic: 1. Setting in a castle.  The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied. The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves, which lend their own haunting flavor with their branchings, claustrophobia, and mystery. 2. An atmosphere of mystery and suspense.  The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. 3. An ancient prophecy  is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. What could it mean? In more watered down modern examples, this may amount to merely a legend: Its said that the ghost of old man Krebs still wanders these halls. 4. Omens, portents, visions.  A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an imitation vision. 5. Supernatural or otherwise inexplicable events.  Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armor or painting) coming to life. In some works, the events are ultimately given a natural explanation, while in others the events are truly supernatural. 6. High, even overwrought emotion.  The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. 7. Women in distress.  As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times. Hogle elaborates by pointing out that women are the figures most fearfully trapped between contradictory pressures and impulses. It is Otrantos Isabella who first finds herself in what has become the most classic Gothic circumstance: caught in a labyrinth of darkness full of cloisters underground and anxiously hesitant about what course to take there. 8. Women threatened by a powerful, impulsive, tyrannical male.  One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. Isabella in Otranto fears the pursuit of a domineering and lascivious patriarch who wants to use her womb as a repository for seed that may help him preserve his property and wealth, on the one hand, yet worried that, fleeing in an opposite direction, she is still within reach of somebody [male], she knew not whom, on the other. Women were constantly reduced to objects of exchange or as tools of child bearing. 9. The metonymy of gloom and horror.  Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). Note that the following metonymies for doom and gloom all suggest some element of mystery, danger, or the supernatural such as wind howling, rain blowing, eerie sounds, sighs, clanking chains, barking of distant dogs, ruins of buildings and several others. One of the classics is footsteps approaching and characters trapped in a room. These elements are highly common and dramatic. They are played up more in the world of cinema with various effects. 10. The vocabulary of the gothic.  The constant use of the appropriate vocabulary set creates the atmosphere of the gothic. Here as an example are some of the words (in several categories) that help make up the vocabulary of the gothic in  The Castle of Otranto. What is interesting about this table is the guidance it provides to its readers about identifying gothic in a simpler way. It also denotes the words that are frequently used to create the ambiance of a particular word to make it fitting in the plot and effortlessly gothic. Mystery diabolical, enchantment, ghost, goblins, haunted, infernal, magic, magician, miracle, necromancer, omens, ominous, portent, preternatural, prodigy, prophecy, secret, sorcerer, spectre, spirits, strangeness, talisman, vision Fear, Terror, or Sorrow afflicted, affliction, agony, anguish, apprehensions, apprehensive, commiseration, concern, despair, dismal, dismay, dread, dreaded, dreading, fearing, frantic, fright, frightened, grief, hopeless, horrid, horror, lamentable, melancholy, miserable, mournfully, panic, sadly, scared, shrieks, sorrow, sympathy, tears, terrible, terrified, terror, unhappy, wretched Surprise alarm, amazement, astonished, astonishment, shocking, staring, surprise, surprised, thunderstruck, wonder Haste anxious, breathless, flight, frantic, hastened, hastily, impatience, impatient, impatiently, impetuosity, precipitately, running, sudden, suddenly Anger anger, angrily, choler, enraged, furious, fury, incense, incensed, provoked, rage, raving, resentment, temper, wrath, wrathful, wrathfully Harris has also listed the Elements of Romance. In addition to the standard gothic machinery above, many gothic novels contain elements of romance as well. As observations denote romance and gothic have become synonymous to a great extent. A study of these elements shows similarities with elements of gothic and uniqueness of romance. Elements of romance include these: 1. Powerful love.  Heart stirring, often sudden, emotions create a life or death commitment. Many times this love is the first the character has felt with this overwhelming power. 2. Uncertainty of reciprocation.  What is the beloved thinking? Is the lovers love returned or not? 3. Unreturned love.  Someone loves in vain (at least temporarily). Later, the love may be returned. 4. Tension between true love and fathers control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves. 5. Lovers parted.  Some obstacle arises and separates the lovers, geographically or in some other way. One of the lovers is banished, arrested, forced to flee, locked in a dungeon, or sometimes, disappears without explanation. Or, an explanation may be given (by the person opposing the lovers being together)   that later turns out to be false. 6. Illicit love or lust threatens the virtuous one.  The young woman becomes a target of some evil mans desires and schemes. 7. Rival lovers or multiple suitors.  One of the lovers (or even both) can have more than one person vying for affection. The elements of romance create the required drama that increases the entertainment quotient and connects with a wider span of readers. This results in a wider appeal for gothic. Kelly Hurley states that the period of 1760- 1820 showed some identifiable characteristics. Gothic has been defined in terms of plot which features: Stock characters like the virtuous, imperiled young heroine. Stock events like her imprisonment by and flight from the demonic yet compelling villain. Setting: the gloomy castle and complicated underground spaces are a must. Hogle says that the tale usually takes place in an antiquated or seemingly antiquated space such as a vast prison, a graveyard, an aging city or a large old house. Theme: the genres preoccupation with taboo topics such as incest, sexual perversion, insanity and violence; its depictions of extreme emotional states, like rage, terror and vengefulness. Style is defined by its hyperbolic language. The need to exaggerate. Hogle states all gothic novels were satirized for their excesses. He believes that the Gothic exaggerates its own fictionality and does so through long lasting and creatively changing techniques. The language is one of the most important ones. The pattern of hyperbolically verbalizing contradictory fears and desires over a possible base of chaos and death, and in a blatantly fictional style, remains a consistent element in gothic. Atmosphere: Its elaborate attempts to create a brooding, suspenseful atmosphere. The vocabulary table is testament to this point. Those words are employed generously to create a certain aura. Narrative strategies are confusion of the story by means of narrative frames and narrative disjunction. The author aims to make the story jump in time and from character to character. A reading of Dracula will show the jump in narratives from Jonathan Harker, Mina Harker and Van Helsing. Since the narratives are in diary entry or letter formats it ends up keeping the reader engaged as well. Plotting: The use of densely packed and sensationalist, rather than realist plotting. Hogle states that within the antiquated spaces where the tales take place are hidden some secrets from the past (sometimes recent past) that haunt the characters, psychologically, physically or otherwise at the main time of the story. Impact on readers: Its affective relations to its readership whom it attempts to render anxious, fearful or paranoid. Fred Botting in his summation of Candyman explains standard horror and gothic themes: ghost stories, urban gothic gloom, romance plots and visual and verbal references to staple fictions alongside a persecuted (or insane heroine), the villain is a slasher figure ever ready to disembowel his victims with a hook, a Faustian temper, a vampiric blood letter feeding off social fears. Although the film was made in 1992, the story line was inspired by Clive Barkers book The Forbidden which came approximately two decades before the movie. The similarities can still be spotted though. Botting in his observations mentions the few elements that have proven to be elementary in this genre. Leslie Fielder in Invention of the American Gothic discusses the deep lingering fear for readers of the gothic that Fielder recognizes: the terror or possible horror that the ruination of older powers will haunt us all, not just with our desires for them, but with the fact that what grounds them, and now their usurpers, is really a deathly chaos. As mentioned earlier gothic does disturb the normal. Plaguing its readers with nightmares and deep rooted worries about possible tragedies is actually one of its aims. Gothic became the forum to say the unsaid and to represent the unspoken. A premise which led to wide spread popularity. Gothic has been under scrutiny by various fronts. It has been used as a point of reference in economic statements by the founder of Marxism. Karl Marx used one of the most common Gothic monsters, the vampire to simply drive his statement home. Capital is dead labor, which, vampire-like, lives only by sucking living labor, and lives the more, the more labor it sucks. This quote is from Capital, Volume I, and Chapter 10. He has deftly pointed towards capitalism as a blood sucking monster i.e. a vampire. Antonis Balaspoulos an eminent personality used similar references.   Ã‚  -labor value extracted from living bodies and congealed in the parasitically animated body of capital   Ã‚  -the abstraction of value which, in a bloodless movement, vampirizes all of the workers labor and, transforming itself into surplus-value, becomes capital The idea behind mentioning these statements is to catch a glimpse of gothic outside the literary world. An observation also has to be made of the replacement of gothic with vampires and of the stereotypical delegation of roles i.e. capital as the monster and the Labor as the victim. Psychoanalytic Gothic is an intriguing concept devised due to Sigmund Freud, the father of psychoanalysis. In the psychoanalytic gothic, we intensely desire the object that has been lost, or another object, person, or practice that might take its place, but we are aware at some level that this object carries with it the threat of punishment: the anger of the father, the breaking of the law, castration. This strand of gothic has been articulated by Steven Bruhm in the Cambridge Companion to Gothic Fiction. The want of something that does not belong to oneself. In both theory and clinical practice, psychoanalysis is primarily attributed to the work of Sigmund Freud, for whom the gothic was a rich source of imagery and through whom the Gothic continues to be analyzed today. Psychoanalysis provides us with a language for understanding conflicted psyche of the patient whose life story or history is characterized by neurotic disturbances and epistemological blank spots. More often than not , such psychoanalytical accounts are intensely gothic: The Uncanny (1919) and A Seventeenth Century Demonological Neurosis (1922) along with a number of Freuds case studies, make the figure of the tyrannical father central to the protagonists Gothic experiences as Stokers Dracula (1897). The Gothic provides the best known examples of those strange and ghostly figures that Freud saw as examples of The Uncanny. For him what is quintessentially uncanny is the deeply and internally familiar as it appears to us in seemingly external, repellant, and unfamiliar forms. Most familiar to Freud are strictly psychological or visceral drives from our earliest existence, such as sheer repetition- compulsions. But perhaps what is most central to the Gothic be it classical or contemporary is the very process of psychic life that for Freud defines the human condition. Now, what makes the contemporary Gothic contemporary is that the Freudian machinery is more than a tool for discussing narrative; it is in large part the subject matter of the narrative itself. To the degree that the contemporary Gothic subject is the psychoanalytic subject (and vice versa), she/ he becomes a/the field on which national, racial, and gender anxieties configured like Freudian drives get played out and symbolized over and over again. Gothic becomes particularly contemporary in both its themes and reception; however, is that these unconscious desires center on the problem of a lost subject, the most overriding basis of our need for the gothic and almost everything else. Botting does point out that psychoanalytic criticism one of the most common lenses through which the gothic is viewed, often misperceives its own scientific knowledge of sexual instinct and Oedipal wished exemplified in the tales of terror and horror, all too visible in their characters and on the surface of their narratives. So much for the buried machinations of desire. Botting advocates that gothic has some stock elements but so does its criticism. He thinks the all too deep reading misconstrues certain elements and they get falsely portrayed. Michel Foucaults transgression is applied on gothic as well. Transgression enables limits and values to be reaffirmed, terror and horror eliciting rejection and disgust; on the other hand, it draws eyes and imaginations, in fascination, to peep behind the curtain of limitation in the hope of glimpsing illicit excitements made all the more alluring for bearing the stamp of mystery and prohibition. Transgression means violating boundaries or committing offences. Gothic signifies a writing of excess with its hyperbolic language and drama. Gothic signified an over abundance of imaginative frenzy. Passion, excitement and sensation, transgress social properties and moral laws. Gothic excesses, nonetheless, the fascination with transgression and the anxiety over cultural limits and boundaries continues to produce hesitant emotions and meanings in their tales of darkness, desire and power. Gothic excesses are blamed of transgressing the proper limits of aesthetics as well as social order in the overflow of emotions. Gothic plots are criticized at times of celebrating criminal behaviour and carnal desires. As gothic came to represent the unsaid and the dark, it did transgress the beliefs and norms of the old world but due to the favourable rates of consumption, it remains an associated theory and nothing else. Gothic as a genre has been avidly debated, reformed, criticized and adaptive to the changes around it.

Sunday, January 19, 2020

Why Do so Many Professional Athletes Go Broke After Retirement?

Jay Nicholls Economics of Sports Prof. Enz 4/5/13 Why do so many professional athletes go broke after retirement? After watching ESPN’s 30 for 30, Broke, my mind starting pondering this question of why and how so many professional athletes are blowing through the millions they make while playing their specific sport? It is amazing that someone can spend that much money so quickly. What are they buying and who are they buying things for? Where are they spending it? Where do they go wrong? When did this trend start and will it continue in the future?What are the league officials doing in order to prevent this tragedy from happening? These are some of the questions I will try to answer throughout this paper. In March of 2009 Pablo S. Torre wrote an article for Sports Illustrated titled, â€Å"How (and Why) Athletes Go Broke†. He explains how many athletes, especially minority ones, come from very humble beginnings often times growing up in poverty. Some of whom are the onl y ones in their family to reach college. Then some of them even start earning money while still in college through â€Å"illicit payments from agents† (Torre).Once these players hit the big leagues and start earning millions, much of it is invested blindly by people who appear to be trying to help but often times do not. Their fortune seemingly evaporates right before their eyes. If and when these athletes look at their bank accounts their reactions are usually similar, â€Å"What the †¦? †(Torre). The most common leagues that players go broke are the three most popular in the country, NFL, NBA, and MLB. Torre reported that â€Å"By the time they [the athletes] have been retired for two years, 78% of former NFL players have gone bankrupt or are under financial stress because of joblessness or divorce. (Torre). That is an astounding number of players looking at overdue credit card bills, child support payments and much more. Athletes who do get married and then ev entually divorced, in many cases, do not sign prenuptial agreements therefore losing at least half of what they worked so hard for. Another astonishing figure reported by Torre was that 60% of former NBA players are broke within five years of retirement. They typically run into many of the same problems as NFL players. The MLB is no different.High profile Major League Baseball players like Johnny Damon and Jacoby Ellsbury reported that some of their money is tied up in an $8 billion fraud scandal due to a shady financier named Robert Allen Stanford. It is hard to believe that someone of that celebrity status could be drained of their money but it’s true. Mike Pelfrey of the New York Mets was forced to ask the team for a salary advancement of $2 million after he admitted he was broke because 99 percent of his fortune is frozen in the same scandal (Torre).These athletes not only gave much of their wealth to Stanford, but also all of their trust and he essentially took their mon ey and ran with it. Uneducated athletes or ‘dumb jocks’ are an easy target for fraud because they may not read the fine print or even care to read it. Also they may not understand the investment fully and get taken for all that they are worth. The financial crisis of 2008 had a huge impact on many players’ wealth as their trusted financial advisors lost billions in the stock market crash.Money manager Michael Seymour, founder of the company UNI Private Wealth Strategies, was quoted saying, â€Å"Athletes have a different set of challenges from, say, entertainers. There’s a far shorter peak earnings period [in sports] than in any other profession, and in many cases they lack the time and desire to understand and monitor their investments. † (Torre). Many athletes don’t have time or the education to know where their money is going and who is handling it. A grueling 162 game baseball season doesn’t leave much time for a ball player to sit down with his financial advisor and talk numbers.Many players will say here is my money, invest it without surveying the risks involved or even realizing that there are risks involved. Coming into that much money so quickly may force a player to just pay someone to handle it because it is much easier that way. Seymour also brings up a good point that is often overlooked by people on the outside or the fans; this is the length of professional sports careers. There are very few athletes in any sport that can last long enough to retire and have enough money to not worry about the rest of their lives.Athletes such as Brett Favre, Cal Ripken, Chris Chelios and Gordie Howe are the rare exceptions to this rule. Howe played professional hockey throughout five decades spanning nearly fifty years. An article from quanthockey. com stated that the average NHL player will play between five and six seasons in the league no matter what position they were. On average that accounted for roughly 238 games played for skaters but far less for goaltenders (â€Å"Average Length of an NHL Player Career†). The numbers across the other three major leagues are very similar or lower.However hockey players, for the most part, are either good with their money or good at staying out the spotlight if they do go broke. The RAM Financial Group is a company that specializes in helping professional athletes manage their wealth. They refer to themselves as financial coaches that â€Å"help guide you to success† by planning for retirement, handling taxes, insurance, and budgeting along with many other services. In an article on their website they wrote that the average NFL career is 3. 5 years; the average NBA career is 4. years and the MLB had the longest career length of any of the four major sports leagues at 5. 6 years (â€Å"Athlete Services†). These three figures make sense too; that as the sports get less physical the career length gets longer. The baseball statistic did not include pitchers however, who are far more prone to injury and typically have much shorter careers than position players. Those figures are also the averages, meaning half of the players fall below that career length. Those players only lasting a season or two in most cases are not star players and are not earning large signing bonuses or special incentives.Chances are they are late round draft picks and sign for the league minimum. RAM Financial Group says that athletes must plan for nearly 50 years of retirement after sports. Since many athletes did not go to, or did not finish college, they do not have a degree to rely for help in the job search after their career has ended. There are only a select few athletes that can maintain a job in the sports world, such as a television announcer or analyst, coach, or scout et cetera; it requires a certain personality and intelligence.The article by Torre profiles a football player by the name of Raghib (Rocket) Ismail who was a sta r wide receiver for Notre Dame and was a potential number one draft pick for the NFL, but instead chose to sign an $18. 2 million contract over four years with the Canadian Football League’s Toronto Argonauts. Why he chose the CFL over the NFL I will never know. He goes on to say that he started with a base salary of $4 million and he was so focused on football that by the time his first year was over his bank account was just about empty.Ed Butowsky was listening to Ismail speak and nodded his head as if to say, ‘I could have seen that coming’. Butowsky is a managing partner at Chapwood Investments which is a wealth management firm. He is used to managing very wealthy people’s fortunes in the business world but, not many professional athletes. Butowsky realized that broke athletes was a reoccurring theme throughout major league sports and he felt the need to do something about it. In 2005 Butowsky began inviting many prominent athletes to his so called fi nancial â€Å"boot camps†.Some of these athletes were well off and others were not. He taught them things about money from the very basics of what is a bond, to some more complicated topics such as insurance and retirement. These sessions were free of charge and the goal was to educate these young men so that they did not fall into financial ruin like so many athletes before them (Torre). An athlete’s wealth is† supposed to outlive their career† according to Bill Duffy, a veteran agent who manages players like Steve Nash and Carmelo Anthony. So where do most of them go wrong?The feature of Torre’s article, Rocket Ismail, talked about his investment portfolio over the years. It included lots of â€Å"dubious inventions and risky investments† (Torre). He mentioned pouring money into a religious movie that saw no return. He earned a reported $18 to $20 million over his career from salary alone in the CFL, and went broke through what he calls â₠¬Å"‘total ignorance’†. He was luckier than most broke athletes however, because he never filed for bankruptcy, had legal trouble or got divorced, and most importantly he had his degree from Notre Dame.But his lack of ‘luck’ with investments caused him to nearly lose it all (Torre). One of his worst investments came when he sank $300,000 into a theme restaurant called the Rock N’ Roll Cafe. It was similar to the idea of the Hard Rock Cafe. Ismail said the man who pitched him this idea talked about it as â€Å"fail-proof, with no downsides† (Torre). Ismail was never paid back anything at all and doesn’t even know if the restaurant ever existed. His lack of interest in the investment led him to lose a considerable amount of his money by writing a single check.If I were about to invest that much money I would want to see building plans, permits, other investors, revenue, and much more before I decided to invest anything at all. Whethe r he didn’t care or didn’t know, he is still at fault. One would think Ismail learned his lesson, but the opposite is true. He continually pumped thousands of dollars into sketchy investments that never took off. He was too trustworthy and easily persuaded by smooth talkers and promising business plans such as a music label, a cosmetics line, tourist shops, and a phone card dispensary company.All of which failed miserably and he saw no return on his investments. Some may call it bad luck but Butowsky sees it differently. According to the article, â€Å"Industry experts estimate that only one in 30 of the highest-caliber private investment deals works out as advertised† (Torre). I would not be willing to risk much money on a thirty three percent chance of making money. He also states, â€Å"Chronic overallocation into real estate and bad private equity is the Number 1 problem [for athletes] in terms of a financial meltdown† (Torre).The lure of tangible ite ms is so much greater than buying something intangible like a stock. Most athletes love the spotlight, and by saying so and so owns a bar or restaurant is a lot sexier and more intriguing than being a shareholder in a Fortune 500 company, even though it may be a safer investment. Risk-averse investors suggest allocating most of their investments to a mix of public securities which to most athletes are invisible and boring. The thrill of inventions and nightclubs are for more appealing but riskier.Disreputable people see athletes’ money as very easy to get a hold of according to NFL agent Steven Baker, who represents 20 NFL players (Torre). People seek to take advantage of them and as history shows it they have been extremely successful. Drew Bledsoe and a crew of other NFL retirees invested â€Å"at least $100,000 apiece in a †¦ Pay By Touch †¦ technology that would help replace credit cards with fingerprints† (Torre). Even though this company was dealing wit h several lawsuits from players and others, they still invested.The stories of athletes buying real estate to sell and rent are very common and their results are all too similar. The financial crisis put a huge damper on the housing market and caused many of the properties to be foreclosed on putting these athletes further into debt. Many properties are up for sale on EBay, far below their original asking prices and market values. Former major league infielder Junior Spivey is one of the many suffering from owning too many real estate properties that aren’t seeing a return on investment.He declares, â€Å"It’s very tough, especially for someone like me who’s not playing† (Torre). Young, rich athletes are similar to a lottery winner who comes into millions without knowing how to handle it. Some of them probably haven’t heard or learned of the basics of budgeting or keeping receipts for tax purposes according to Leigh Steinberg an NFL agent (Torre). Many athletes will admit they know nothing about the business and financial world after the fact they have made very costly investments without knowing all the details about where their money is actually going.Magic Johnson weighed in on this discussion, â€Å"by admitting he knew nothing about business† (Torre). He was a lucky one getting a trustworthy adviser. He went on to say that many athletes hire family and friends because it is a favor to them but these people are often times in over their heads when dealing with this much money. They can make risky and uneducated investments that may not be profitable. Johnson gets calls from stars all the time who ask him about hiring friends and he immediately says no because he knows they will more than likely fail.Many athletes will hire their friends because they simply do not know how to say no to them. Friends of rich athletes often expect financial help or jobs. The infamous Ron Artest had to dismiss six of his friends involv ed in his record label in 2007. They were doing odd jobs for him and living in a house he was paying for. His ‘entourage’ was less helpful than they were worth and Artest had to make that tough decision (Torre). Jerry Richardson, owner of the Carolina Panthers stated the most dangerous thing that could happen to an athlete financially is divorce.A lot of athletes get married young and by the time they retire realize they made a mistake. In Torre’s article, he refers to a survey put out a financial services firm by the name of Rothstein Kass. In the survey they polled 178 athletes – each with a minimum net worth of $5 million and most were under the age of thirty. It was reported that, â€Å"more than 80% of the 178 athletes polled†¦ [were] concerned about being involved in unjust lawsuits and/or divorce proceedings† (Torre). Athletes and agents’ common estimates today, show that the divorce rate for professional athletes is anywhere from sixty to eighty percent.Husbands routinely lose half of their net worth in these cases and most splits happen after the peak earnings period of their careers, or in retirement. This timing is no accident. Former NBA center Mark West commented, â€Å"There’s this huge lifestyle change†¦ you and your wife are suddenly always at home, bugging each other. Before you’d say ‘I gotta go to practice. ’ Now you don’t have practice† (Torre). If you don’t want to spend time with your wife clearly you aren’t ready to get married or you picked the wrong woman to spend the rest of your life with.I can see how many retired athletes would want to relax at home after their career is over. Some women are just gold diggers as well, just using the men’s money to go shopping and such. Other problems such as infidelity may arise as well. Celebrity status sometimes seems to bring out the worst in people and not many marriages can survive a cheating scandal. With all the pressures riding on a high profile marriage with an athlete, the prenuptial agreement is one security blanket to protect an athletes’ net worth.This is recommended by agent David Falk who represented Michael Jordan, but Jordan did not have one. The percentage of athletes who sign one is considerably lower than regular people of the same economic stature. Often times an athlete will marry his hometown sweetheart and they are so blinded by ‘love’ that they could not ever imagine a ruinous divorce in their future, but people change especially when there is lots of money at stake. Dikembe Mutombo set a great example for athletes when called off his marriage in 1994 after his fiance refused to sign a prenuptial agreement.It reportedly â€Å"cost him $250,000† to cancel the wedding ceremony but it could have been millions had they gone through with the marriage and gotten divorced later on (Torre); smart move by the big man. Chil dren are a large factor in a divorce settlement as well. They tend to make the decisions far more complicated. NBA player Travis Henry, who has nine children with nine different women, is a prime example of this. His fortune was demolished by child support payments in the â€Å"tens of thousands† (Torre).When athletes cannot afford to pay these ridiculous amounts of money they get treated no differently than regular citizens and are put in prison. Another factor leading to the demise of an athletes’ wealth is the notion that they want to impress the veterans on the team and get on their good side. Some rookies think that in order to do this they must buy a Lamborghini, a yacht or splurge on a million dollar house. You cannot live outside your means for too long. Soon enough the bills will come in and they will realize that swiping a credit card doesn’t mean you can keep that item forever. Young layers will look up to guys that have been in the league for many ye ars, and who have accumulated plenty of money. They try to emulate them and fail miserably. For example a rookie on say, Shaquille O’Neal’s team, might look at his many cars, clothes and large and say, ‘I want that’. However Shaq has money coming from not only his NBA salary, which was amongst the highest in the league, but also from numerous endorsement deals off the court. Professional athletes’ going broke has been an ongoing trend for many years and it will continue until education becomes an important part of turning pro.Fox news did a short story on this epidemic and in it Kathryn Buschman Vasel reported that, â€Å"The reasons for financial hardships vary, from lack of planning, over indulgence, bad investments and poor financial guidance. Or all of the above† (Vasel). These four mishaps have ruined lives of once millionaire athletes for so many years. With so many star athletes going broke and embarrassing not only themselves but the leagues they represent, what are the owners, general managers, and league officials doing to help prevent this trend from continuing?USA Today posted an article on this topic last year citing the Sports Illustrated article among others. Russ Wiles wrote, â€Å"The NFL conducts workshops for rookies covering topics such as substance abuse, sex education, gambling, domestic violence and personal finance† (Wiles). However their effectiveness remains in question. Many of the rookies will disregard these efforts to help them and wind up in the same situation as their counterparts before them. They hear the stories and statistics but think this could never happen to me I am going to be a millionaire, there’s no way I could blow that much money.Ignorance is not bliss in this situation. Many athletes â€Å"assume the money will keep flowing in for years, but that’s usually not the case† (Wiles). Contracts that teams offer are usually merit based with only a small percentage guaranteed no matter what. Many players don’t realize this or may not even know that. As an athlete myself I never think that maybe I will get hurt this year or what will happen if I do. Professional athletes have the same mentality. Even worse what if a rookie never pans out to be more than a backup?Bench players don’t make nearly as much as starters or star players. And as soon as a player gets cut or put on waivers their contract dwindles down to nothing. When the paychecks stop coming, the lavish lifestyles of athletes can no longer be sustained. Paychecks will stop eventually for everyone but bills never do. The banks and credit card companies don’t care if you get hurt playing a professional sport, they still want their money and will stop at nothing until they get all of it; whether that means foreclosing your home, car and yacht or seizing all other assets as collateral.Players can’t grasp the concept that their peak earnings period wi ll be short lived and their lifestyles must be planned accordingly. Unlike a corporate office job or a doctor where the potential salaries keep increasing based on good performance or experience in the field in which they work, Athletes make all or most of their income in a few short years. According to Wiles, â€Å"Even athletes who play professionally for many years will eventually need to downsize their finances†¦That makes them different from most workers† (Wiles). Colleges and universities are not off the hook either.These institutions that have high profile teams with the potential for their athletes to play professional sports should offer more courses on money and finance to their students. It should be a requirement for students not just student athletes to be financial literate so that nobody finds themselves in the red later on in life. Even if you are a history major or a science major, it is imperative to know how keep your head above water when it comes to personal finances. The only way these professional athletes will be able to lead successful lives after their playing days are over is through education.People above them need to stress the importance of saving, planning, and common sense because once you owe more money than you are able to pay back it may be impossible to get out of debt. Bibliography 1. â€Å"Athlete Services. † RAM Financial Group. RAM Financial Group, n. d. Web. 2 Apr 2013. . 2. â€Å"Average Length of an NHL Player Career. † Quanthockey. com. N. p. , n. d. Web. 2 Apr 2013. . 3. Torre, Pablo S.. â€Å"How (and Why) Athletes Go Broke. SI Vault. Sports Illustrated, 3 Mar 2009. Web. 1 Apr 2013. . 4. Vasel, Kathryn Buschman. â€Å"Why Athletes Go Broke. † Fox Business. Fox News, 01 FEBRU 2013. Web. 4 Apr 2013. . 5. Wiles, Russ. â€Å"Pro athletes aften fumble the financial ball. † USA TODAY Sports. USA TODAY, 22 APRIL 2012. Web. 4 Apr 2013. .

Saturday, January 11, 2020

Preparing and designing learning Essay

Preparing and designing Learning and Development Activities In this assignment I will address factors which influence learning and development activities, focusing on adult learning, organisational factors and key legislation which must be adhered to. I will describe different learning methods and learning resources and highlight both the advantages and disadvantages of each. I will also plan and prepare a full training session including development activities for a Team Manager with the objective for them to effectively manage the attendance of their employees. Factors Relating to Adult Learning Andragogy (adult learning) is a theory that holds a set of assumptions about how adults learn. Andragogy emphasises the value of the process of learning, It uses approaches to learning that are problem-based and collaborative, and also emphasises more equality between the teacher and learner. Knowles identified the six principles of adult learning outlined below: 1. Adults are internally motivated and self-directed – Your role is to facilitate a students’ movement toward more self-directed and responsible learning as well as to foster the student’s internal motivation to learn. 2. Adults bring life experiences and knowledge to learning experiences – Adults like to be given opportunity to use their existing foundation of knowledge and experience gained from life experience, and apply it to their new learning experiences. 3. Adults are goal oriented – Adult students become ready to learn when â€Å"they experience a need to learn it in order to cope more satisfyingly with real-life tasks or problems† (Knowles) 4. Adults are relevancy oriented – Adult learners want to know the relevance of what they are learning to what they want to achieve. 5. Adults are practical – Through practical fieldwork experiences, interacting with real clients and their real life situations, students move from classroom and textbook mode to hands-on problem solving where they can recognise first hand how what they are learning applies to life and the work context. 6. Adult learners like to be respected. Adult Learning Cycle Kolb learning styles: Diverging (feeling and watching – CE/RO) -Kolb called this style ‘Diverging’ because these people perform better in situations that require ideas-generation, for example, brainstorming. People with the Diverging style prefer to work in groups, to listen with an open mind and to receive personal feedback. Assimilating (watching and thinking – AC/RO) – The Assimilating learning preference is for a concise, logical approach. Ideas and concepts are more important than people. People with this style are more attracted to logically sound theories than approaches based on practical value. Converging (doing and thinking – AC/AE) – People with a Converging learning style can solve problems and will use their learning to find solutions to practical issues. People with a Converging learning style are more attracted to technical tasks and problems than social or interpersonal issues. People with a Converging style like to experiment with new ideas, to simulate, and to work with practical applications. Accommodating (doing and feeling – CE/AE) – The Accommodating learning style is ‘hands-on’, and relies on intuition rather than logic. These people use other people’s analysis, and prefer to take a practical, experiential approach. People with an Accommodating learning style prefer to work in teams to complete tasks. They set targets and actively work in the field trying different ways to achieve an objective. Barriers to Adult Learning Barriers that are associated with adult learning include; poor writing skills lack of sufficient time lack of funds lack of persistence or motivation Other barriers include gender discrimination, age discrepancies, language problems, and lack of support from employers, friends, and family. Organisational factors which impact design of learning and development activities 1. Organisational policy and culture 2. Financial Factors 3. Timing and timescales 4. Equality of opportunity 5. Learner factors 6. Organisational priorities Key legislation relevant to learning and development activities Equality and diversity Health and safety data protection Learning Methods The Visual Style – People who learn best through visual aids have a visual learning style. Visual aids include facial expressions and gesticulations of teachers, pictures, texts with illustrations, DVDs, etc. Advantage: It makes recollection easier when, in an environment different from where you had learned the information, you see pictures similar to those through which you learned the information. Disadvantage: the difficulty you experience when only texts and speeches are available for learning, without any visual aids. The Auditory Style – Some people prefer to learn by hearing what they want to learn. Theirs is the auditory learning style. To learn, such people would prefer listening to discussions, talking matters over, reading out of texts or making use of e-courses containing audio recordings. Advantage of this style is that you assimilate and retain information without having to see it in texts or pictures. Disadvantage: the difficulty of learning among silently reading learners EG in a Library. The Read/Write Style – If you learn best by reading texts or writing down notes from what you read, see or hear, then you are a read/write learner. Read/write learners need writing materials to take down points they think important from what they read, hear or see. Advantage of making them more self-dependent because with their note taking, they can learn much by themselves. Disadvantage of not being able to learn easily where the only  medium of instruction is visual or audio, or where they do not have access to writing materials. The Kinesthetic Style – Kinesthetic learners prefer to learn by moving and doing. They prefer interactive learning, learning through practical challenges and hands-on experience and taking in information as they move from one place to another. Kinesthetic learners are therefore not comfortable sitting in a place for long. Advantage of exposing learners faster to practice and evidence: You learn as you practice and practice what you learn; you see the evidence of what you had digested with difficulty from texts or discussions. Disadvantages where there are no places to move to for such live experience and nobody to interactive with. Learning Resources Instructor-led training remains one of the most popular training techniques for trainers. There are many resources used including: whiteboard, power point presentation etc†¦ Advantages  Instructor-led classroom training is an efficient method for presenting a large body of material to large or small groups of employees. It is a personal, face-to-face type of training as opposed to computer-based training and other methods we will discuss later. It ensures that everyone gets the same information at the same time. It is cost-effective, especially when not outsourced to guest speakers. Storytelling grabs people’s attention. Disadvantages Sometimes it is not interactive. Too much of the success of the training depends on the effectiveness of the lecturer. Scheduling classroom sessions for large numbers of trainees can be difficult—especially when trainees are at multiple locations. There are many ways that you can break up training sessions and keep trainees attentive and involved, including: Small group discussions. Break the participants down into small groups and give them case studies or work situations to discuss or solve. This is a good way for knowledgeable veteran employees to pass on  their experience to newer employees. Case studies. Adults tend to bring a problem-oriented way of thinking to workplace training. Case studies are an excellent way to capitalize on this type of adult learning. By analysing real job-related situations, employees can learn how to handle similar situations. They can also see how various elements of a job work together to create problems as well as solutions. Q & A sessions. Informal question-and-answer sessions are most effective with small groups and for updating skills rather than teaching new skills. For example, some changes in departmental procedure might easily be handled by a short explanation by the supervisor, followed by a question-and-answer period and a discussion period. Role-playing. By assuming roles and acting out situations that might occur in the workplace, employees learn how to handle various situations before they face them on the job. Role-playing is an excellent training technique for many interpersonal skills, such as customer service, interviewing, and supervising. Advantages Interactive sessions keep trainees engaged in the training, which makes them more receptive to the new information. They make training more fun and enjoyable. They provide ways for established employees to pass on knowledge and experience to newer employees. They can provide in-session feedback to trainers on how well trainees are learning. Disadvantages Interactive sessions can take longer because activities, such as taking quizzes or breaking into small groups, are time-consuming. Some method can be less structured, and trainers will need to make sure that all necessary information is covered.

Friday, January 3, 2020

Personal Statement The Profession Of Student Affairs And...

Describe your educational, work, and volunteer experiences, including the interpersonal relations, interests, and special skills and knowledge you possess that you believe are necessary to enter and practice the profession of student affairs/counseling. When I am not scavenging for ingredients that will help me perfectly recreate a dish from a recipe I encountered online, I am most likely surrounding myself with people and engaging in productive, yet personable conversations. There is something so exciting and intrinsically motivating about interacting with others that, naturally, I am immediately drawn to positions that enable me to do just that. And I have had the greatest privilege to be able to work in these settings that give me so†¦show more content†¦Educationally, my technical background in statistics will enable me to look at data analytically and creatively in education research. All students have their own academic and personal challenges and can hold many complex and intersectional identities. With my statistical knowledge, I will be able to collect more disaggregated forms of data in an effort to avoid confusing the needs of one particular group with those of another. Not only was I a mentor to others in every campus position, but I was also the mentee being mentored by professionals. And from this, I know firsthand how transformative these interactions with student affairs professionals can be for students like me. I was empowered and positively impacted by my co-curricular college experience, and I strongly believe that any student who wants this opportunity should deserve it. Professional Goals and Expectations Describe your career goals, expectations, and aspirations and how the SDHE program will assist you in realizing them. My journey at UCSB has empowered me to become a more self-aware leader, and while there are countless endeavors that I would like to achieve as a student affairs professional, I primarily seek to create environments where every student feels safe, accepted, and inspired to perform at their best. Pursuing a degree from California State University in LongShow MoreRelatedProfessional School Counseling3972 Words   |  16 PagesAbstract Over the years experts have studied the history and developmental aspects of the professional school counseling field. This paper will give an introduction to professional school counseling and the importance of the field as it relate to counseling. 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