Concept of Drawing as a Medium

Concept of Drawing as a Medium This essay will address the subject of drawing. The main starting point will be the ideas of John Berger on Drawing. These ideas can be summed up into three main concepts: Drawing as observation, drawing as memory and drawing as expressing ideas. Although drawing from observation was of fundamental importance in the past today we see more and more an engagement of drawing with memory and as expression of ideas. This doesnt mean that people dont deal with observational drawing, it means that its practice as it was in the past has become obsolete in the sense of drawing is a starting point as study for a final painting. The introduction of photography and the end of old art academies accelerated this change. This essay will deal mainly with drawing as memory and drawing as ideas. It will first look at artists who use drawing in a more conventional way for ideas and memory. Then it will move on to consider artists who challenge the medium itself (pencil, paper and so on) to push the ide a of drawing to express drawing as memory and drawing as observation. The essay will discuss the distinctions between painting, sculpture and performance as a way of discovering the possibilities of drawing and also to discuss the new expectations of drawing as a medium. The art practice of drawing in the late twentieth century has achieved the status of art in its own right. The approach to drawing is also changing in ways that reflect trends within the art world at large. Many artworks in association with drawing challenge traditional boundaries among media. Secondly, there is self-consciousness about the nature of art and what is involved in the creation of art. I see drawing now at a primarily end of its tradition it can be argued that it no longer stands as drawing to represent. It seems that we are on the verge of anther paradigm shift in drawing, now reflecting an altered view of its nature as a skilled activity, what we now perceive as drawing has been obliterated. By this I mean change for instance, Rauschenbergs Erased De Kooning, an example of change by removal of the drawing. Rauschenberg proved to be going backwards in drawing traditions. The drawing was there and now it is not. This was a kind of rebellion going against traditions, alth ough the drawing may have gone backwards drawing was to go forwards i.e., modernism. The process of change will be discussed. Drawing is discovery John Berger, Berger on drawing, had enabled me to begin research and analyse in depth both the physical and the metaphysical act of drawing. What we draw is not only the subject observed but also what we already know about it. In fact the past experience of the subject affects the way we draw it. Berger further raises the point that will be discussed in this essay; the differences between the actions of drawing and painting. According to Berger the audience can identify with the subject illustrated when confronted with a painting. I will attempt to establish a dialogue on the possibilities of drawing with reference to artistic process. Firstly I will analyse the work of Jackson Pollock as a link to contemporary practice. I have also found it important to research literary theory on the grounds of the process of mark making and the social connotations it has created. The reading of Berger on drawing helped me to begin thinking about some key terms such as drawing as memory, drawing as a way to express or show forth ideas and drawing as observation. It was useful to reflect on the idea of truth in drawing. How truthful can we be when we draw? Do we draw what we see or what we know? Can we overcome our set knowledge of things? I will try to find out more about these issues studying the work of other artists. Artists such as Jackson Pollock, CY Twombly, Susan Collis, Louise Bourgeois and Yves Klein whom will be discussed in this essay distinguish their mark making to be somewhat unknown and less predictable. Their works all would free all external impurities. This essay will examine a process of where drawing stands to date in relation to the past. It seems that drawing is everything it is not just the stimulators of the pencil it is in fact the motif and creation of exploring possibilities within the concept. I want to question that without these familiarities then what is known, as drawing could never have happened. Drawing is a continuous action, commonly known as the before of something. Now drawing is the beginning and the end of concepts. Drawing, when perceived as truth or good is the act of line. This is the common factor that persuades all subject matter to fall in the same category as writing, in the relation to text and image. Conversely, bad drawing is lining by the means of lines, a fact lamentably patent in things as widely divergent. This point permits me to repeat that drawing specifically means to visualize ideas by means of lines. Drawing is discovery; drawing is a way of seeing what is hiding under the surface. If the artist observes what is in front of him then dissects in his minds eye this demonstrates that the artist relies on memory and past observations to draw the subject before him rather than simply examining what lies before him. What we draw is not only the subject observed but must also be what we already know about it. It is the difference between the actions of drawing and painting that need to be explored further, for instance in abstract expressionism the line between subject and artist is subtle in distinction whereas Yves Klein paints with a figure, which will expose the difference in this relation. Drawing into painting chapter One (a discussion with chosen material)and chance There are distinctions between drawing and painting. It seems this became irretrievably blurred when Jackson Pollock started to paint with line in the late 1940S. Bernice rose has stated in the writings of his work that, perhaps, then it would be more precise to say that there is no real dividing line between painting and drawing in his work. Perhaps there is no divide between painting and drawing? The same is being made, the mark or as discussed the line is only been made larger and the feeling is now more intense. Pollock erased the distinctions then pertaining between drawings as a discipline. Referring to Cy Twombly cycles and seasons, reading paragraph, coincidence where Shiff talks about the pencil line as something that is happening, this means that the line is not there to describe or configure things with a narrative aim, i.e. The line is not meant to represent objects belonging to the world. The line is not linked to the act of seeing with Pollock. The line is linked to the act of investigation and drawing as idea and memory. As Pollock would push the boundaries between drawing and painting thus drawing becomes painting and vice versa. Therefore drawing loses its dependence on painting. Twombly would repeat what Pollock had started. Their work both suggests internal feelings and relate in a much deeper way to merely observation. From memory they would represent their emotions going against the conventions of traditional drawing. The line represents and describes feelings and emotions, which seems a constant flux of things that can happen at the same time. Using Twombly as a reference once again, what appears really interesting to me is the constant change in both of their works: lines are constantly erased, changed, redrawn and re-erased. Furthermore it seems to me that the past and the present are a constant dialogue. As Pollock immediately pours the paint medium onto the canvas the expression is different. The raw emotional expression allowed the drawing to become much more complex and indeed most energetic. Now, the conventional sense in his paintings is that they generally neutralize the distinction between figure and ground, a factor closely allied with the theory of the all-over. Because the image evinces no definite form but only a compact, restless texture that appears to continually advance and recede and allows the eye no point of rest, is banal.It remained, however, for Pollock to move from this to a full recognition of pictorial identity of drawing and painting. Furthermore, in his work the effort to bring painted effects into balance with those obtainable in drawings vanishes as both materials of ink and oiled pigment would operate from the same overall conception. The conception that would see the blank paper and the indrawn canvas as comparable visual fields. The aura of drawing surrounding the act of painting almost denies any difference. Looking at Pollocks earlier works contains numerous indicators of the great significance that Picassos work held for Pollock. Looking again at drawing as memory or past knowledge Picasso arouses the interest with themes of sex, beauty and young woman but also reference to the old masters in his work. In the words of Jeffery Hoffeld Picasso displays a panorama of works from the history of his own art. The Title links in with Pollocks idea of drawing as an element of memory but also through drawing as past experiences or past knowledge of a specific subject. Significance in style and development evokes the condition of drawing. The intensity of Pollocks Paintings had clearly evolved through his act of drawing, drawing from an idea in his head, creates this impulsive drawing performancei.e the body moves with every drip and every mark to be made, as though the artist would walk with the drawing he would be come part of the work. This drawing is enriched with energy and feeling that could be connected into painting almost immediately. The line scratches through the figures, the impulsive brush over of marks, and gradually discovers beneath the network of strokes a circular shadow that seems to hover in the pictorial space and yet create depth. The beholder has a sense of a hallucination. Walter Benjamin has suggested that when a drawing entirely uses or covers its supporting ground it can no longer be called a drawing. This can be added to define the characteristics of the overworked nature in his work. This definition to me seems unfair to say it is that act of drawing that relates to figure and ground what becomes of the image is unknown. If we extend the list of artists that have used a similar approach to painting and drawing that like wise experimental dripping, such as Susan Collis an artist who also experiments with accidental drips, attaches to the technique as such. Collis work would seem like careless splashes and stains upon the surface, however with careful inspection these marks would heighten the idea to mislead the viewer as these are counterfeit marks playing with our reactions and our understanding with mark making. For instance, Susan Collis, No. 2(In series), 2004, red glitter and self adhesive Vinyl are an example of the process of replacing the original mark with her own. To live is to leave traces This misleading conception that their may have never been an object or a sheet of paper there, is an argument to raise the point that drawing has been extended it has worked its way of the surface and onto a new. Furthermore, Collis works with marks left by things, the incidental and transient and lending their permanence. No matter what point we might eventually select the fundamental function of Collis work allows us to rethink past experiences in Art history and the change within art concepts. Subject is defined with false conceptions playing on the idea of what is and was may not be reality. Referring back to what Berger has said; drawing from memory , this can relate with the work of Susan Collis as the traces are of objects that where once there she has celebrated the idea of memory, drawing from her memory as a way to discover the past in relation to the present. If confronted by something that has no form, no language, or no place, a familiar analogue steps in; we use one thi ng to describe another.When the artist has no words to describe something drawing can define these lost words both the real and the unreal in visual terms. Gestures of freedom For instance, CY Twombly pushes the limits of drawing and painting with words; it is very hard to classify his work either as painting or drawing. Illustrious and Unknown is what Degas aspired to be, and what Cy Twombly has become. The boundary between drawing and painting becomes blurred into his practice as an artist. Playing on the tension between drawing and painting, Twombly was able to question and redefine what drawing is or what it can be. For instance this challenge to drawing can be seen in his experiments to drawing in the dark. In this way he denies the old principle of drawing that is drawing from observation since the act of looking is invalidated in darkness. This can question; how can the values of drawings be recognized as having reflected changes in the material conditions and technology of drawing?The condition of materials being as much unknown in the dark as his mark analysiss an exciting process with discovering his material. With these examples there is a chang e within how art can be made; Art can be made of anything firmly established, as they would work with a range of materials simultaneously. The dictionary definition of drawing suggests that it is inextricably linked with line. Its clear that drawing and painting both exist simarily in the same worlds, what I distinguish between both of them is the order of similar motifs. These artists discussed so far all relate to drawing as memory and drawing as ideas. After the breakdown of modernism, artist became less concerned with any specific properties with their chosen medium, instead selecting the medium for its compatibility with their particular thesis or proposition. There is and order to maximise the formal potential of their chosen material. We only have to study the work of Marlene Dumas to gain an understanding of the relationship drawing has to painting. Drawing is a vital part of Marlene Dumas oeuvre; by drawing with the line tools of painting her works on paper and the oil paintings echo each other. This is an opportunity to once again blow up the image as said. In this case drawing is a way of getting to understand the image, I use second hand images and first hand emotions. Her paintings differ from her contemporaries who during the 1980s revisited the figure in neo-expressionist work that favoured intoxicating colour. Dumas uses paint as a subversive, anti- conventional means of expression and the figure as a vehicle for achieving these ends. The image is created with the feeling of expressing ideas. She is an artist who works with memory and ideas to work out a dialogue with mark making and story telling. Her paintings become drawings and her drawings become paintings. These paintings make similar marks to a single line in the association with drawing. It is not drawing of an outline as the single brushstrokes acts as a drawing and a painting at the same time. Her materials that she uses obscure new possibilities and meaning the paint, the lines, the ink the drawingThus demonstrating that the line is of importance in both relationships of painting and drawing. The pre-knowledge of her feelings, memories, ideas and associations with the image revert back to the impulsive line. Her direct approach shows the power of the image, which is informed by the immediate gesture of the drawing. The tension that has seemingly been created in the image, we can recognise what is depicted and yet we are not entirely sure about its meaning. As the viewer we are compelled by the poetic nature in movements throughout the image. Other important key terms for the possibilities of drawing are: chance and the relationship child -like/childish drawing. There is an element of chance and randomness in Dumas work, also referring back to Twomblys drawings he too works with the same ideas of chance. As for the relationship child like/childish, Twomblys drawings fall into the first category. In fact as much as one tries to regain the innocent eye of the child one will never succeed because he/she is not a child anymore. In a sense this reminder me of Picassos mission in art as well, i.e. to regain playfulness in the act of drawing. In fact a child is able to create without the concern and the clichà ©s the adult artist is concerned with. It is the coloured pencil drawings of Cy Twombly that the line wonders off back and forth in the distance charming the viewer as the marks turn discreet. We can also see this parallel shift from drawing possibilities with materials into painting in the works of Louise Hopkins. Hopkins work hovers on the boundary between drawing and painting. She is and artist whom describes she will paint rather than being a specified painter. Hopkins delicate approach rejects the traditions to picture making. The result is certainly a drawing in purely technical terms, but at the same time it may represent the drastic function of line, her process of change and use of line is meticulously, one stroke at a time. She never starts with a blank canvas. That fear of being confronted with a problem before the image becomes part of the context. For example, in Untitled (the of the) 2002 Hopkins has taken a broadsheet newspaper and drawn over every single key word and image, leaving behind only the connecting words.The words then become isolated and immediately transformed into a new context. This wonderful image has the feeling of a night sky with nothing b ut stars connect with. However maintains its aim with undeniable pattern, rhythm and form. Hopkins ground has been inked out; leaving behind its signifiers, the notes, which are there, but the song has been interrupted with this blocking out technique, which seems a repetitive process. White black black white explains in its title the process of repetition; Hopkins repeats her actions on the surface developing its contrasts and rhythm. This process has created a different kind of rhythm, played out but the white circles and lines framing the musical notation. This seemingly repetitive action is merely Hopkins aesthetic decision to highlight specific points within the page and thereby compose her personal and original tune. This method appears once said painting and drawing in reverse. The existing material and images are systematically covered up. What is interesting in this work is the idea of a memory the surface is a memory, and is yet to be vanished. The more ink that is added the less information she maintains of its originality. Once again this process of change rela tes to drawing as ideas and drawing as memory, Hopkins time consuming change to the image represents the processes within drawing. As disused in Hopkins work there is congruence here with Robert Rauschenberg drawing Erased de Kooning, 1953. Here the drawing has been removed as part of the progression of drawing. There is a clear conceptual starting point here with both artists. Once again this relates to memory. The initial image has been completely removed; however it is still obvious of its existence. Drawings are often created and removed by the lack of success in the drawing. This process of change is clear. The existence of the drawing has shifted from being obvious to then becoming unsure. From the title of the work we cant help but imagine what was. In relation to Hopkins work both artists are drawing attention to what they are taken away, creating possibilities for stereotypical images. There is significance in drawing then to painting or to be known in some sense the painting is once again the drawing. Although we would not understand that this was once a drawing, the title allows an understanding -Text and Image. The text and image represent a personal commentary on concerns that shape much recent art. Drawing into Sculpture chapter Two memories Drawings is analytical but its also expressive in its own right, it has duty to bear witness, nit simply by making a representation of something, but taking things apart and reassembling in a way that makes new connections, it is entirely experimental- Antony Gormley This chapter will discuss sculpture and drawing as a way to discover ideas. Joseph Beuys would have had false conceptions running through his mind if he hadnt made drawingsDrawing in this case would relate to drawing as expressing ideas. Drawing in these key terms would exist differently in real space than a sketched or painted one. With the situation of postmodernism, practice is not defined in relation to the given medium-sculpture- but rather in relation to the logical operations on a set of cultural terms for which any medium -photography, books, lines on wall, mirrors, or sculpture itself might be used. Thus the field provides both for an expanded but finite set of related positions for a given artist to occupy and explore The sculptural work is physically present and the space it exists in identical with real space. Drawing and painting for example tell stories, stories from the artist and stories that we are allowed to fabricate. Whether reality and fiction are allowed to be classified drawing does however extend into those dream dimensions that seem unattainable for sculpture.The drawing as known is not dedicated to any kind of medium, after the breakdown of modernism it seemed that artist became less concerned with the properties of a specific medium. Indeed artist would go against convention. As Stuart Morgan comments on Louise Bourgeois work, For an artist with no fixed style or material or medium, only the rule seems to apply and that there are no rules. No rules at least, which cannot be broken. Despite all gloomy prognoses of the end of freehand drawing, the strengths of drawing- being able to develop, test, and vary and idea with the greatest possible freedom and with an individual touch- have yet been obtained. When I think of Auguste Rodin this prognosis allows me to point out that Rodin thus falls into another category outlined by Berger, in this case drawing from observation and not memory. Rodins important synthesis defined the importance of the body in order to bring out purity. The artists drawing fall under different categories: drawings as preparations for sculptures; drawings as observational exercises per se and drawings from imagination. His approach to drawing as a sculpture, in his black drawings is visible in Rodin use of three dimensionality achieved by the use of chiaroscuro. It is interesting to find Rodin an artist from a traditional period within art, however Rodin felt it was necessary to go back to observation as his drawings became unknown. I realis ed my drawings where too divorced from reality, I started all over again, and worked from my life models. To summarise Rodin used drawing to work out his sculptures using observations, the artist that I will now discuss differ in terms of their practice as it seems fair to say that now drawing is used as an excursion away from reality. This past observation looks at the similarities in which contemporary artists such as Rachael Whiteread that used drawing as a way to form her compositions and as a tool of expressing the object/structure with all of its possibilities. These drawings would initially start as plans, and without these plans false conceptions of the work would appear apparent. Whiteread draws with a sculptures mind, for she follows that sense peculiar to making wood or stone sculptures. The drawing is seen as a field as co-extensive with real space, no longer subject to the illusion of an object marked off from the rest of the world. The space of illusionism can change and connect with the space within the world, in doing so it loses its objective and would become more subjective and accessible only to the individuals raw perception. Furthermore, drawing dedicates itself to the space within. The importance of drawing within the space is a crucial process whiteread would have, by redraw the entire space to understand and refine her ideas. For instance, if we look at Floor Study, 1994, ink correction fluid on paper, 46x34cm This wonderful drawing evokes such movement and repetition that can be designed in the sculptures she makes. In relation to such work Louise Bourgeois who uses her drawings as ways of sketching forth ideas. Her memories are the inspiration as she draws sense of her childhood from memory this way of drawing is not systematically correct as there is no end to the line. It was only a matter of time before drawing could be viewed as an opportunity and opportunity to develop the traditions and stick by the conventions in only a symbolic sense. Artists would now discover the imagination as they moved without restraints between media. The Insomnia Drawings, by Louise Bourgeois are a series of two hundred and twenty drawings that contain major themes in her work. Very important in these Insomnia Drawings is the link between drawing and words. The artist expressed her ideas about childhood fears and memories via drawing. Drawing became the channel to exorcise her fears. In my opinion her draw ings are described mainly from a psychoanalytical point of view. Bronfen, The insomnia Drawings suggests that the artists drawings can be divided into two main categories: on one hand abstract and geometric on the other figurative and realistic.Marie- Laurie Bernadac elucidates that the abstract drawings come from a deep need to achieve peace, rest and sleep, they relate to unconscious memories whereas the realistic drawings represent the conquest of negative memory, the need to erase and get rid of..I found these distinctions that Marie-Laure draws between realistic and abstract drawings interesting, However in my opinion the drawings that is described as realistic could not be described as such in the conventional sense. I see her drawings as more of a dreamt reality. In this sense the act of Bourgeois drawings are successful in expressing her ideas, for instance the work femme maison, where the link between the female body and the house is expressed in a simple and effective way . If we look closely as though we were discovering the secret poetry within Twomblys paintings, Bourgeois uses words which are generally used to express ideas; in her drawings words become drawings themselves. Furthermore the use of words as an aesthetic element with excitement functions to challenge the separation of written word and visual language. In fact the artist expresses them as a whole. Words are also used to represent the banality of everyday.In other words, every real artist, by means of lines compels us to recognise what has been drawn this is the spirit of the subject. Close to Bourgeois subject would undoubtedly be Tracy Emin, her work also makes reference to the feminine and sublime. Tracy Emin returns to drawing as the primary means of expressing her abject state of mind and body. Though she employs a vast array of media such as film, sculpture and performance, it is however drawing that satisfies her confessional practice with a constant presence within her practis e (. i.e.). The line takes control over the way she makes marks; with thread she can sew the line and engage with the same familiarities that the line has within drawing. The difference between drawing and a picture is that in the latter the subject is worked out for us to look at; the former I can imagine so many things which are only suggested. The possibilities of drawing fall back to its original tradition; there is a constant flux of ideas that of which deal with the process of change and randomness. Jan Albers for instance, works in a constant hover between reality and phantasm between figuration and abstract. His interest in spiritualism and imagery reveal the intensity of his artistic research and practice. In this example the exploding lines of colour create a shield covering the figure which defines the structure of the drawing as repetitive mark making with use of the pencil. Often his drawings become three dimensional; the drawings step out into our reality and also are part of Albers reality. The radiating lines extend the drawings hung on the wall; his work deplores the change in drawing and is an infinite example of what drawing can become or what drawing has become. Drawing to me is far greater than being such of a secondary nature; it is in fact primary Sometimes leading to the discovery of another. Progression with their chosen materials Joseph Beuys for instance, his drawing can be compared to most recent works within contemporary art such as Monika Grzymala. The drawing is an exercise far removed from perfection often their drawings are much obvious where there drawing began and what sequence the overlapping steps where executed. Furthermore these artists both deal with Time and Energy. Beuys drawings share a complexity of line yet the basic materials used to create the line defines a greater similarity. There lines are erratic and confusing to look at; Beuys drawings investigate his ideas using his memories to make a mark. Grzymala works with tape as her tool too make a mark on a surface. Line is a point taken for a walk There is a fearful energy to Monika Grzymalas drawing installations: layer upon layer of black lines scrawling up the gallery walls. They have a similar intensity to Beuys spontaneous suggestions of form. Beuys per formative actions served to widen the possibilities for what was considered art. I am defining the themes of change and progression; anything and everything has become possible. Drawing and performance the body chapter three This chapter will discuss, drawing in relation to performance within the conceptual art world. I will use artist such as Paul McCarthy, Rebecca Horn and Ives Klein as a way of comparing and evaluating the extreme ways in which these artists would create drawings but not in the traditional sense. These artists would go against their traditions and explore possibilities of finding a new way of drawing, idea art that reinforce the connections with figure and ground and the physical relation that they have engaged with. If we look at the work of Keith Herring it is clear to identify the fusion of post modern theory that, activist practise and the appropriation of the idea of site specific drawing (performance).The growing eclecticism of styles in the 1980s gave artists the freedom to appropriate style and form from other disciplines such as architectural, fashion, and scientific illustration, as well as popular culture.At this time particular artist began to champion drawing again, origi nally seen as the eccentrics within art, and then gradually acknowledged as important individuals. It can be said that drawing for these artist could be the only method that allowed them to fully express their thoughts, ideas and emotions.For instance Rebecca Horn is a performance artist who creates site specific installations, a sculpture that also makes films whose values of drawing derive from this process of her experimentation. These following examinations will portray the artistic style and energy, motifs and aesthetic strategies in which reflect the importance of drawing and demonstrate why these drawings should be accorded far greater importance than they have been in all her previous exhibitions and publications.Even in the momentum of drawing Rebecca Horn fuses conceptual thinking with emotional and per formative procedure. For instance, her Pencil Mask from 1972 (image), considers these aspects offering a more empathetic demonstration of this approach. Rebecca Horn challenges the drawing and the making of the drawing proves a highly concentrated labour. The head mask consisting of a lattice of vertical and horizontal straps cross.Systematically the actions are prepared to measure spontaneous expression. It can be

Intro to Contemporary Society

To ask any person what family means in contemporary society is to take a glimpse into the multitude of terms describing family forms, that is; â€Å"household, couple family, nuclear family, extended family, single-parent family, blended families and stepfamilies† (Germov & Poole, 2007). Therefore regardless of how a family is structured an integral component that each one of these families has is the role they play in the socialisation process.That is, every person’s life from the time they are born till the time they pass will be encompassed with acquiring what is their cultural â€Å"norms, values, beliefs, attitudes and language† (Gecas, 2001, p. 2855). In doing so the individuals self and personality will be formed and moulded. For the purpose of this essay I will concentrate on the significance of family in the socialisation process and three facets for which family is central, they are: behaviour, development and gender roles.Predominately, the three aspec ts will focus on the primary socialisation that focuses on the progression of one’s development. It will examine the nuclear family diversity within family socialisation and describe how different family types socialise. Finally it will briefly discuss the change in family roles within contemporary society. Socialisation is a continual process of cultural diffusion that recognises social identities, roles and personal behaviours that an individual will learn so to become a member of society (Scott, 2006).Every individual begins the process of socialisation within the early years of personhood within the context of their family. Our parents, siblings, grandparents and extended immediate family are our primary agents, who develop our knowledge and skills through a variety of actions (Scott, 2006). Therefore the family in the socialisation process is the most influential and essential for a child’s development. A newly born baby is not a very social being; it is the paren ts’ role to train the baby and to help make it properly social (Plummer, 2010).As parents respond to their baby’s physical needs, they are starting to implement what the baby should expect from their surroundings and the way they should communicate their needs. A child’s earliest interaction with society is through the relationships it develops with its family members. These relationships during a baby’s development play a key role in their future social adjustments (Strickland, 2001). In relation, families who provide dependable and responsive care, aid the child to develop personal evelopment that can be considered typical to what society views as normal. In doing so the child will be able to develop relationships with others that are beneficial and nourishing (Plummer, 2010). An example of children who do not receive this type of care would be to refer to the studies that have been complied regarding feral children. It has been suggested by Plummer (20 10) that children who have been â€Å"left to live in isolation and then discovered, later show that they simply cannot function as social beings† (p. 20).Similarly a family who during the child’s developmental years pass on what they think and understand to be principle behaviours, attitudes, skills and values can be suggested to be exercising the social learning theory researched by Jean Piaget (1896-1980). According to social learning theory, behaviours and attitudes develop in response to reinforcement and encouragement from those around us†¦ the identity people acquire is based more on the behaviours and attitudes of people around them than the interior landscape of the individual (Anderson & Taylor, 2006, p. 4). For example, household rules govern behaviour, generosity and caring are socially respected merits that are taught within the home and culture, and interpersonal behaviour function as models for interactions with outside people (Strickland, 2001). He nce, during the primary socialisation it is not only the matter to understand what are the patterns of behaviour, the rules or the norms, â€Å"it is a matter of learning to the extent to which they become part of the way people think† (Gecas, 2001, p. 2856).In addition, support and control from families are the most powerful models of influence in the socialisation process. Children who are continually supported by their family through the progression of significant life stages are found to present encouraging â€Å"cognitive development, moral behaviour, positive self esteem, academic achievement and social competence† (Rollins & Thomas, 1979, p. 41). Conversely, where there is a lack of family support children may display negative outcomes. Rollins and Thomas (1979) suggest â€Å"low self esteem, delinquency, deviance, drug use, and various other problem behaviours† (p. 2). Also, parental control is just as important as support in the socialisation process. J ust like support, the level of control families exercise forms of punishment, discipline, supervision, strictness and monitoring can lead to positive or negative developmental and behavioural outcomes for the child. A significant behaviour that is discovered in the family context is what it means to be a boy or girl. This process takes place when the families we exist in â€Å"condition our behaviours by treating boys and girls in accordance with social expectations† (Holmes, 200, p. 3). Children â€Å"quickly learn how men and women are expected to behave, even if those close to them do not always behave according to those expectations† (Holmes, 2007, p. 43). The socialisation experience of girls across cultures is geared towards motherhood and males will be workers (Hoffman, 1977). The main point here is these similarities across cultures and over time have led many to believe that gender roles â€Å"must be biologically based and unchangeable† (Hoffman, 1977, p. 644) to reflect the expectations of society.It tends to be the case in contemporary society that an array of different family types exist. No more are children being born into married mother and father couples, they are also being reared to unwed heterosexual couples, divorced couples, unattached heterosexual men and women, and to adults who have used IVF techniques, to which they may or may not be related too. This is only a selection of a small number of family types that now occupy society and as a result the way in which these families come to socialise will differ.To identify why these differences exist would be to observe not only the family type but factors that are confounded within the family type (Grusec & Hastings, 2007). In other words, according to Grusec and Hastings (2007) the functioning of an individual is influenced by the relationship within the family. Therefore, if there were an absence of the mother or father in the home, such as single-parent habitat, it w ould bestow a different family socialisation context.Also, children and parents who live in different family structures may have the right to use distinctive economic, community and social resources, and as a result this may offer greater experiences of cultural surroundings in a variety of ways. For example, parents with â€Å"low incomes and less access to resources show poorer socialisation practices and less authoritative parenting styles, compared to more financially well off parents† (Grusec & Hastings, 2007, p. 329).Children who live in homes that require constant residential moving, for example parents who are divorced will experience problems in adjusting compared to children whose families provide stable environments (Grusec & Hastings, 2007). Consequently, for the majority of human beings who will experience society through the observations of our initial family practices, we will all grow up thinking that ‘our’ family is normal. It is not until we beg in to realise that ‘our’ family is a part of the many varieties of family types mentioned above, that the diversity of family is introduced.Even until today the nuclear family continues to create a dominant principle in much of the Western world, and Rapoport and Rapoport (1982) have described family diversity by contributing to the idealised conception that the nuclear family is disappearing. As Poole (2005, as citied in Bittman & Pixley, 1997) has pointed out examining household types at one juncture obscures transitions such as children leaving home, thus creating single-person or couple households; having children; separating and divorcing; ageing and moving to live with married children or to supported accommodation; and then dying.Throughout this period, nuclear family households are created and broken up and then recreated – sometimes several times (p. 67). Factors that are also contributing to the demise of the nuclear family are â€Å"increased longevit y, declining fertility, rising divorce rates and increase in the proportion of people who will never marry† (Poole, 2005, p. 67-68). Hence, it is no longer infrequent or rare to come across children who will appear from an assorted mixture of parents and families. Likewise it is not uncommon in contemporary society that the role of the women has changed.It is no longer the actuality that women will spend much of their lives pregnant, nursing or caring for children. This change has resulted primarily from three converging factors, â€Å"smaller family size, longer life expectancy and higher employment rates for women throughout their life cycle† (Hoffman, 1977, p. 644). The socialisation process across cultures for girls is geared toward motherhood; therefore if motherhood is no longer the major role of women in society, then the socialisation process can be expected to change (Hoffman, 1977).However, in spite of all these changes the responsibility for women to have chi ldren is still her role. Furthermore the role of the female in the family has evolved with the contemporary woman who is choosing to have an increased control over their fertility and as result they are marrying later in life, having children later, and having fewer children. In addition, the increased acceptance and expectation in society that women work is also bearing waves on the reduction of babies being conceived, so too is the proportion of women pursuing higher education qualifications.Overall, whether or not the birth rate remains low is difficult to predict, but there is clearly an increase in the number of couples who expect to have only two children (Hoffman, 1977), so where does this leave the generation continuance in the socialisation process? In conclusion every human being when they enter the world of life will be thrust into the process of socialisation for which their families bear the greatest responsibility. They will become a distinct mark in the culture they p reside too and the self will evolve through the wondrous capabilities of learning, identifying, and developing who they are as an individual.There are many aspects for which the family is fundamental during the socialisation process and we can appreciate that in respect to the assortment of different family types there will be altered approaches to how families socialise, much diversity and ongoing change. As the individual evolves during the many stages of their life, they too will become the family member who takes the role in the socialisation process and it will now be their responsibility to ensure that the culture they belong to continues on. References Gecas, V. (2001).Socialisation: Encyclopedia of Sociology (Vol. 4, 2nd ed. , pp. 2855-2864). Retrieved from http://www. gale. cengage. com Germov, J. , & Poole, M. (2007). Public sociology: An introduction to Australian society. Sydney, Australia: Allen & Unwin. Grusec, J. E. , & Hastings, P. D (2007). Handbook of socialisation : Theory and Research. New York, NY: Guilford Publications. Hoffman, L. W. (1977). Changes in family roles, socialisation, and sex differences. American Psychologist Journal, (August), 644-657. Holmes, M. (2007). What is gender?.London, England: Sage Publications. Plummer, K. (2010). Sociology: The basics. Abingdon, Oxon: Routledge. Poole, M. (2005). Family: Changing families, changing times. NSW, Australia: Allen & Unwin. Rapoport, R. , & Rapoport, R. N. (1982). Families in Britain. London: Routledge Rollins, B. C. , & Thomas, D. L. (1979). Parental support, power, and control techniques in the socialisation of children. New York, NY: Free Press Strickland, B. (2001). Socialisation: The Gale Encylopedia of Psychology (2nd ed, pp. 607-609). Retrieved from http:www. gale. cengage. com

Warning Signs on Samples of Good Essay Writing You Need to Know

Warning Signs on Samples of Good Essay Writing You Need to Know The 30-Second Trick for Samples of Good Essay Writing An essay has to be composed of an introduction, a body, and a conclusion. The outline is similar to a kiloton that aids you to arrange your points logically. Only details that are relevant and informative of the principal topic needs to be included. Among the examples of documents that are necessary to be keenly written is a report. Firstly research is quite essential prior to an overview of your opinion. Don't forget, any source employed in your essay has to be included in your reference section. In any case, it will have the same basic structure. The empty screen or term paper before you while the summary essay has become the most complicated portion of the procedure. A History of Samples of Good Essay Writing Refuted Essay writing can be rather a challenge. Before you start your essay, familiarize yourself with a few of the fundamentals. Your essay won't be flowery in writing but will have to have substance inside the topic. It may not be flowery on paper but will need to have substance within the subject. Templates like Descriptive Essay about Office can be beneficial for someone who's planning to go to an office. Descriptive Narrative Essay Example may be used mainly to recreate a function. It is definitely an array of thoughts and ideas. It is an array of thoughts and ideas. Witty Comebacks Online dating services are a fantastic means to find men and women you might be considering. There are quite a lot of places online where you could acquire at no cost. You must also have a look at different kinds of essays from the web to allow you understand how to support your suggestions and express them. The online essay writing services educate students developing a wonderful essay. A seasoned professional will make an error-free assignment right away and can help you boost your grades. Your accurate English is really the most gripping point of expert essay writing services online. Figure out if the very best custom essay writing service stipulates the assurance never to resell your content to some other buyer. Many trustworthy writing services are eager to provide essay help. There are a lot of things that one wants to learn about academic writing before they are ready to develop a fantastic paper. Your basic aim is to compose an intriguing story about something remarkable that happened to you in the very first person. Don't be worried about a few of them being rather abstract their principal purpose is to reveal to you the basic principles that you'll have the ability to transfer to your own writing. Word choice describes the potency of each word in a bit of writing. There are likewise a lot of group of themes which can be found on the world wide web. In addition, there are lots of group of themes to be found on the internet. You see, the conventions of English essays are somewhat more formulaic than you may think and, in lots of ways, it can be as easy as counting to five. If you observe a few easy steps, writing essays are going to be a pleasure for you. Writing documents is already part of the lives of individuals. You could also lack enough knowledge on the subject, or you aren't good in using English language for writing essays. New Ideas Into Samples of Good Essay Writing Never Before Revealed Ensure you know the correct uses for the most typical kinds of punctuation. Double spacing is utilized throughout. Whether you're looking for a more causal link, or something more serious, now's the opportunity to get started. By adding the words, a list of different sites will appear based on what it is you're wanting to achieve. Even the most well-known examples need context. Samples of Good Essay Writing Fundamentals Explained At the conclusion of each academic essay, you want to consider over the conclusion together with the introduction. Writing very good thesis statements shouldn't be an issue for you, when you maintain the aforementioned factors in mind. Even in the event the deadline is truly tight, feel free to get hold of our managers. It is possible to take a look at thesis statement examples to find a far better idea on how best to compose a thesis statement, effectively.

The Use Of Dualism With The Mind Body Problem Essay

Philosopher: John Locke is an English philosopher born in 1632 and died in 1704. He is one of the most influential philosopher to attack the concept of dualism with the Mind-Body problem. Topic: John Locke is very keen on personal identity. He believes that consciousness creates personal identity. The body isn’t essential, so when a person’s soul fleets to a different body, they are still the same person because their consciousness thrives: â€Å"Personal Identity is wherever the consciousness is† (John Locke’s pdf). In order to understand personal identity, he first identifies the concept of a person. A person comprises of a consciousness with experience, the ability to think for oneself, and awareness of the past and present, but not an actual physical presence. Brief Summation of Weekly Topic Dualism is the belief that the mind and body works together. The idea of dualism is that the mind is more than just a physical brain. Consciousness dwells in a mind, which serves as an identity and manifest as a soul. This is separate from a physical body and brain, where when the body dies, the soul will remain and continue living. Personal Driving Questions: Who’s to say that the body and the environment don’t make up the person’s identity as well? My answer: Nobody can rule out the fact that the physical body and the environment a person dwells in makes up a part of their identity. While I agree that consciousness is essential, because that’s where all experiences, memories, andShow MoreRelatedThe Brain Identity Theory, Logical Behaviorism, And Dualism Essay989 Words   |  4 PagesHave you ever stop to think if your thoughts, beliefs, and desires can be described as something physical? The mind-body problem focuses on identifying the relation between the physical and the mental. Physical objects include our body, brain, and much more such as our neurons and the chemicals in our body. When we mention a physical object we can describe it by having properties of texture, shape, color, and size. The mental objects are said to be our beliefs, desires, and emotions. But can theseRead MoreGraham On The Mind Body Problem1502 Words   |  7 PagesClines PHIL 290-16 April 15, 2015 Paper 2: Graham on the Mind-Body Problem The Mind/Body Problem: Dualism, Physicalism, or Both? In â€Å"The Disordered Mind†, author George Graham claims the mind/body problem to be one of the most famous problems in the history of philosophy. The mind/body problem is â€Å"the question of the place of consciousness and intentionality or of the mind in the physical world† (Graham 76). In other words, are the brain and mind two separate entities, or are they one physical entityRead MoreThe Mind Body And Body1341 Words   |  6 Pages The Mind-Body problem arises to Philosophy when we wonder what is the relationship between the mental states, like beliefs and thoughts, and the physical states, like water, human bodies and tables. For the purpose of this paper I will consider physical states as human bodies because we are thinking beings, while the other material things have no mental processes. The question whether mind and body are the same thing, somehow related, or two distinct things not related, has been asked throughoutRead MoreWhat are the strengths and weaknesses of dualism and monism?1569 Words   |  7 PagesDualism and monism is a famous philosophy topic from ancient to now. The word Dualism means that our physical and our mental are independent. And our body and our mind cannot be the same. It is because of mind and body is two separate substances. In the contract, the monism means that both of the physical and mental are combined being one. And our mind and body are indivisible and are each influenc ed by the other. The monism and dualism individually has its strengths and weaknesses. The mindRead MoreThe Concept of Dualism Essay1013 Words   |  5 Pagesmachinequot; form of substance dualism best solves the mind body problem. My views in this area have been influenced by my twelve years of Catholic education. The soul, or mind, depending on your level of belief, was a complete and separate entity and was the center of a human being. The body was an ambulatory device that the soul directed. The idea that the mind is a separate entity and that it is independent of the physical body is the central point of substance dualism. nbsp;nbsp;nbsp;nbsp;nbsp;Read MoreDualism And Belief That The Mind And Brain Essay1201 Words   |  5 Pageshis argument for dualism, he states that humans are composed of both an immaterial substance and a physical substance. Moreland notes that there are contrasting differences between the minds and the brains and that they are ultimately separate entities. By defending dualism, Moreland seeks to make nonbelievers believe in immaterial souls, while discrediting materialism. We can look at the arguments in which Moreland uses to support the argument of dualism and belief that the mind and brain are separateRead MoreThe Theory Of The Mind Body Dualism1232 Words   |  5 Pagesscholastic Aristotelianism and created the first version of the modern mind-body dualism or emotion† (Encyclopedia Britannica). Born on March 31, 1596, he was dubbed as the Father of Modern Philosophy. His theory on the mind-body dualism, also known as Cartesian Dualism, created a stem of the modern pro blem of the relationship between the mind and body. He created the early version to further explain the interaction of the mind and body, to create a firm foundation that can be explained through scienceRead MoreI. Introduction. The Mind Body Problem Is A Problem That1590 Words   |  7 PagesI. Introduction The mind body problem is a problem that has been around for a long time. The problem is the question Does the body rule the mind, or does the mind rule the body?, the reason it s still a problem today is because we don t have a scientific understanding of how the mind and body interact. The interactions of the mind and the matter of the body is seen every day. You can only be aware of things around you through your senses. When you touch a table, your fingers tell you throughRead MoreCartesian Dualism vs Logical Behaviorism Essay1483 Words   |  6 PagesAre minds physical things, or are they nonmaterial? If your beliefs and desires are caused by physical events outside of yourself, how can it be true that you act the way you do of your own free will? Are people genuinely moved by the welfare of others, or is all behavior, in reality, selfish? (Sober 203). These are questions relevant to philosophy of the mind and discussed through a variety of arguments. Two of the most important arguments with this discussion are Cartesian dualism and logical behaviorismRead MoreIs Dualism Best? The Nature Of Consciousness? Essay1070 Words   |  5 PagesStudent ID Number: 00180694 November 2rd, 2016 Philosophy 101: Introduction to Philosophy Professor Bayne Dualism Best Explains the Nature of Consciousness The three theories we have discussed so far are the dualism theory of Plato and Descartes, the Aristotelian theory, and the Physicalism (identity) theory of Place and Strong. The identity of consciousness means that if you have the same consciousness, you are the same person, and if not conscience, you are not the same person. The thing that