Winning Elections Essay Example for Free

Winning Elections Essay b) Traditionally, winning elections has been an aim of political parties subordinate to representing political views. However, more recently parties have been adjusting their ideology, possibly to make them more desirable to the majority of the electorate and thus gain political office. As suggested by McKie, recent elections have been less between competing philosophies, much more about which set of managers was likely to get better results. Both Labour, and the Conservatives have moved considerably towards the centre of the political spectrum in the past couple of decades, and if there are fundamental differences between the two parties, then at least one of them is failing to reflect properly the concerns of the middle ground voter. This convergence of party ideology is most probably a move by both parties to make them more attractive to middle England. It is perhaps now only extremist parties that are intent on representing political principles, and this may be a reason for the recent rise in popularity of parties such as the BNP. In the last election, 57% of manifesto pledges for the main parties were non-partisan and couldnt be countered be other parties, this is a mark of the lack of choice the electorate is presented with and illustrates how parties are no longer representing strong political views with each party catering for a different section of society. In 1992 all three major parties were pro-Maastricht, which proves that parties are just pursuing policies that will appeal to the majority of the electorate. Labour used to represent the views of the working class, and their ideology was distinctly socialist, but under Tony Blair, and previously Neil Kinnock, Labour has tried to distance itself from its core supporters and trade unions, as that relationship was a vote loser. This reinvention of Labour ideology has been very prominent in recent issues such as Labours intransigence in not raising the salary for firemen and not having a good relationship with the Fire Brigades Union. The reform of the party came after 17 years of Conservative rule, and it was accomplished by the abandonment of many of its distinctive policies that it had fought and lost of in previous elections. When Tony Blair dropped clause four, it was in order to change the party, and when party reform was fully complete, Labour returned to power. However, some of Labours policy changes may have been due to the shrinking working class, which used to make up the majority of their support. This change in social structure may also be attributable to the Conservatives move towards the centre, as social boundaries have shrunk, the middle class which they traditionally represented is not as easily defined anymore. In the period 1945-1979, policy differences between the two major parties were generally peripheral, and thus both major parties governed for roughly 17 years each. In the two elections where there were substantial and essential differences in social and economic policy (1945 1983), one of the two parties plunged to catastrophic defeat. This was due to both parties projecting the party ideology through policy, thus effectively representing political principles even if it was not going to get them elected. However, there are still some policies that distinguish the major parties from each other. The parties set ideological goals in order to establish the best way to run the country; therefore parties are offering representation of the major strands of opinion. Labours electoral success is partly dependent upon offering a clear and distinctive vision of the nations future, their recent move away from the left has perhaps been in the interest of the electorate, and it would lose Labour political credibility if the electorate suspected that their new stance was the result of opportunistic caution. If one was to argue that political parties simply wished to get elected and this is why they have similar policy, then perhaps it should be questioned why there used to be a very distinct difference between the major parties. This can only be because of changing social structures mentioned previously. Ultimately, there is no way of knowing whether parties simply wish to get elected rather than represent political principles. However, it is likely that getting elected is at the top of their agenda, and perhaps they wish to represent distinct principles when they are in power, however the current Labour government has been acting much like a Conservative government would on issues such as Iraq, and university tuition fees. This perhaps highlights the changing society that we live in which has different political needs than it has in the past century, and political parties have adapted to provide the best options for the electorates needs.

The Concept of Satan in World Religions :: essays research papers fc

The concept of Satan in world religions is an interesting one that has not sufficiently been studied by scholars. We all know that Satan is a familiar character from Christianity; does the red-pajama'd, soul-stealing badass, however, appear in other religions as well, drinking the blood of newborn babes and raping evildoers with his white-hot thorned penis? As it turns out, he does (although not in his characteristic red pajamas). In Hinduism, for example, there is an evil trickster known as Majapudu, who is reputed to have twelve horns, eyes of fire, and noxious flatulence that can kill an entire village in minutes, like mustard gas. Worshipers in the south of India and in Burma, fearful of Majapudu's power, reportedly have developed an elaborate set of rites intended to pacify this worst of demons. Some of the rites include the ritual sacrifice of all infants born in the month of D'vindi (roughly mid-November to mid-December of our calendar). The religion of the aborigines of the Ukraine has a similar character, Thauraza. No traditions give any direct description of Thauraza, though, He is said to travel around the countryside in a giant ball of fire, only stepping out to devour the occasional soul and send it to thousands of years of torment in his miles-long sulphurous bowels. Not all Satan characters in world religions, though, are terrifying. Others are more like tricksters, or, even worse, like that frat brother everyone had who was always able to score at any party, no matter what. The Indonesians, for example, tell of a mysterious stranger known as Jobimba, or "mystery man," who would occasionally come into a town, seduce all of the women under thirty, and then leave them pregnant and unfulfilled by their less seductive husbands. The resulting social dysfunction that would ensue was said to be worse than that caused by a thousand episodes of "Dr. Phil." In sum, many world religions talk about Satan (or someone who looks a lot like him). Maybe that's the most important thing about Satan-- he goes by many names and wears many faces (the Devil, the Lord of the Flies, Prince of Darkness, even Jobimba).

How and Why Is the Grotesque Used in Tennessee Williams’ a Streetcar Named Desire Essay

Throughout this semester, we were introduced to varying degrees of literary styles and themes. From the epiphanies discovered through American Realism, to the skepticism explored through Literary Modernism, to the conflicts of social conformity and individualism approached by a Post-Modernistic America and its writers. We have had the great opportunity of being exposed to individuals who questioned and pushed the boundaries of creativity and expression. Tennessee Williams was an author and playwright who balanced the enigmatic, macabre, and often cruel disintegration of his characters with a poetic grace. He became the keystone of a style that is known as Southern Gothic. A Streetcar Named Desire became the quintessential manifestation of the grotesque through the unraveling of the â€Å"Old South†. More specifically, his themes on the conflict between the â€Å"sensitive, non-conformist† individual against conventional society, the disintegration of the southern woman, and the divergence between southern gentiles and northern brutality to which all of Williams’ characters contributed to in some degree. The grotesque style of literature supplies the reader with a historical as well as social perspective. This provides a metaphorical reference to the â€Å"dying† South and the struggle to exist against the progressive ideals of the North, all the while, fraught with trying to keep the Southern identity and dignity intact. It is stated that â€Å"A common description (of the grotesque) has to do with causation: Southern grotesque is often said to be the literary aftermath of historical misfortune. (Presley 37). If we take into account the surrounding setting of the play, â€Å"†¦a two-story corner building on a street in New Orleans which is named Elysian Fields and runs between the L & N tracks and the river (Elysian Fields is a New Orleans street at the northern tip of the French Quarter, between the Louisville & Nashville railroad tracks and the Mississippi River. In Greek mythology the Elysian Fields are the abode of the blessed in the afterlife. ) The section is poor but, unlike corresponding sections in other American cities, it has a raffish charm† (Klinkowitz & Wallace 2187), the reader is thrust into the ensuing chaos before any of the characters are even introduced. Williams was very particular about each detail with regards to the style in which he was writing. The drama is not only a result of the surroundings, but is a symbiotic portrayal of the daily lives that exist within the grotesque. â€Å"The disorders are threefold: narcissism, familial conflict, and dream- like confusion†: (Presley 37). The Southern Gothic, grotesque style of writing can best be characterized by the profound ability of an author to evoke feelings of disgust while contrarily evoking feelings of compassion among his/her audience as well as between the characters within the work. These emotions are presented and contained within, what seems to be, a lost individual. This character may also display traits of incontinence due to physical or mental incapability. â€Å"Literature of the grotesque, according to the authoress, is distinguished by a moral or theological vision not usually associated with realistic works. Freaks appear in her fiction, she said, to reflect quite simply what man is like without God† (Presley 38). In keeping with the grotesque, Williams’ A Streetcar Named Desire stretched the boundaries of this theme through the representation of the disintegration of the southern woman. By exploring the torrid longing of his character, Blanche Dubois, and her desires and fears. â€Å"Grotesque writers are â€Å"faced with the reality that they live in an age whose distortions function as indicators of how far man has drifted from his true image as a creature of God. In this vein, Williams explores the corruption of mankind, along with its difficulties in reconciling its primal nature with the rules of society: Blanche’s charm and beauty is overridden by her alcoholism, nymphomania, and general debauchery† (Presley, 1). Blanche DuBois provided the extreme case of what it is like to lose yourself. Blanche was â€Å"Deceptive, dishonest, fraudulent, permanently flawed, unable to face reality, Blanche is for all that thoroughly capable of commanding audience compassion, for her struggle and the crushing defeat she endures have the magnitude of tragedy. The inevitability of her doom, her refusal to back down in the face of it, and the essential humanity of the forces that drive her to it are the very heart of tragedy, No matter what evil she may have done, nor what villainies practiced, she is a human being trapped by the fates, making a human fight to escape and to survive with some shred of human dignity, in full recognition of her own fatal human weaknesses and increasing absence of hope† (Crandell 93). The obscure relevance to her deceptions are only a portion of why Blanche represents the grotesque. Her necessity to cling to the â€Å"old† southern ways (with a â€Å"death grip†) allows her to cling to her own sanity. She exudes narcissism to the fullest extent, but is unable to see the damage that it is causing to herself and the people around her. In the very first scene, Blanche describes the loss of Belle Reve. She goes on to embellish the loss as a personal encounter with death, to which she is the only witness to and the only effected party: â€Å"I, I, I, took the blows in my face and my body! All of those deaths! The long parade to the graveyard! Father, mother! Margaret, that dreadful way! So big with it, it couldn’t be put in a coffin! But I had to be burned like rubbish!†¦. And, oh, what gorgeous boxes they packed them away in! Unless you were there at the bed when they cried out, â€Å"Hold me! † you’d never suspect there was the struggle for breath and bleeding. You didn’t dream, but I saw! Saw! Saw!†¦. † (Williams 2193). This description was a faint cry for compassion or an attempt to restore the relationship with Stella, but through a premeditated state of self preservation. The grotesque narcissism with which she approaches the loss of the estate and their relatives only happened to her. It is this over dramatic perception that reinforces the author’s emphasis on the Southern Gothic or grotesque style apparent throughout his play. The culmination of the loss of Belle Reve, her husband’s suicide, and, later, her dismissal from her job, could have contributed to her current state. But it in the end, she chose not to face her demons, she opted to hide behind the ruse of entitlement associated with old Southern Society that proved to be her ultimate demise. â€Å"If there is any character in modern dramatic literature whose identity is bound up in such fantasies and sees erself as unique, special and entitled, it is Blanche DuBois, whose very name conjures up images of French, chivalric romances. Furthermore, it is clear that she identifies with the role of the â€Å"Southern Belle† and, in fact, retreats to memories of herself as â€Å"Southern Belle† when confronted with death and trauma. Ironically, from Blanche’s point of view, although the â€Å"Southern Belle† is fundamentally superior, she is also, simultaneously, a vulnerable, even fragile figure, in need of constant attention and care, dependant on others. (Ribkoff & Tyndall 327). The reason why the grotesque is so important to the decline of the Southern woman, and this particular character, is because there is this realization that there are no happy endings. Blanche is happy to wallow in her own self destructions and with this she is libel to take down everyone within her distinct vicinity. Blanche’s character is deprived of the one thing that she longs for which is love and by reaching for the facade of the Southern Belle, she does more damage because she is the complete antithe sis of the Southern Belle. There is also a lot of symbolism associated with Blanche’s decline. Throughout her short time at her sister’s apartment, it is evident that she was taking a lot of baths through the progression of the story. As more information gets divulged about what really happened in her past, it is almost as if she is trying to maintain that she is a Southern Belle. She is trying to convince herself that she is still clean or that she can wash away her past through her frequent bathing. There is also the issue of light. Blanche does her best to conceal herself from the light of reality by placing paper lanterns over lamps to soften the light â€Å"So, too, in A Streetcar Named Desire, Blanche is described (in the same stage direction! ) as both attracted to and repulsed by light. On the one hand, she is described as moth-like in appearance. Comparable to the moth, she is strangely attracted to that which has the power to destroy her. On the other hand, â€Å"her delicate beauty must avoid a strong light†. To avoid it, she dresses naked light bulbs in paper lanterns, and when she goes out, with Mitch for example, it is always at night. † (Crandall 95). This pertains to her willingness to escape reality and is yet another way that Williams exhibits the grotesque through his writing. In further examination of Blanche, her dependency on men is another portrayal of the grotesque. She is constantly looking for and acquiring the affections of men and seems to feed upon the generous nature of Mitch, Stanley’s friend. Here we see the grotesque outlined in the form of female dependence on the male figures in their lives. At one point, Blanche rejects the union of her sister with that of the abusive Stanley Kowalski. She fantasizes about an alternative life with the financial support from Shep Huntleigh, but this still emphasizes a need for the support to exist from a male figure. Even though this wouldn’t be a stable situation for Stella, this would free her from her dependency on Stanley. This reiterates the progression from the old to the new south, but isn’t a source of stability for Stella. She still needs to rely on Stanley and in doing so we see the indignity of the human spirit due to sacrifice. It is also a theme of Williams’ that the removal of the simply â€Å"country† life, and into the throngs of a bustling city, create the setting for the grotesque situations that these characters find themselves in. Williams thought that in moving away from the country life, we are separating ourselves further from the life that God had intended us to live. There is a quiet simplicity that is associated with working the land in the country and in moving to the trappings of a large city, there is room for trouble. This is also apparent through the loss of Belle Reve. When Blanche falls into misfortune and loses the house, she is forced into a life of less prestige and honor. She loses her job as a teacher due to moral discrepancies, she is called on at the hotel that she is staying at by many men, and she is forced to move in with her sister in New Orleans. This transition represents a removal of all that is decent and good with humanity and confines us to the â€Å"cramped† quarters of a city where we lose ourselves. Stanley Kowalski’s character impresses upon the reader an animalistic quality that can only be implied to represent the conflict of the divergence between southern gentiles and northern brutality. â€Å"As much as Blanche is the representative of dreams, Stanley is the emissary of quotidian reality. His Napoleonic Code and the State of Louisiana are the realistic counterparts to Blanche’s more ephemeral Belle Reve. Whereas Blanche values civilization and its refinements-art, poetry, and music-Stanley indulges in more primitive pleasures-eating (bringing home meat from the kill); drinking, to the point of intoxication; and sleeping with women. He knows what his pleasures are and indulges them, often to excess. He enjoys life to the fullest-â€Å"be comfortable is his motto†. In his drunken paroxysms, he easily forgets himself, and becomes one with his buddies. He is, for the most part, spontaneous and unselfconscious† (Crandall 97). In the climax of the play, we bear witness to Stanley’s submission to the atavistic urges and northern brutality by the rape of Blanche. As the story progresses, Mitch (Stanley’s friend) exhibits how the loss of the Southern Gentile adds to the grotesque setting with which all of the characters exist in. At the end of the play, we are made aware that Blanche is being committed to an insane asylum. As the Doctor starts to take Blanche away, Mitch had an opportunity to intervene, but he didn’t. He felt a great deal of sympathy for Blanche, but chose to not act on those feelings and instead Blanche is committed. The reason that this is such an important example of the loss of the Southern gentile was because he had the opportunity to act and didn’t step up to defend Blanche. Southern gentiles are all about honor and dignity. With the loss of these important qualities within him, he has just let Blanche succumb to the darkness that has shrouded her since she arrived at Stella’s apartment. Even though Blanche didn’t see the hero within Mitch, they had a bond between them. They were both looking for love and for someone to take care of them. With him not coming to her rescue, the true Mitch is presented-a person who is devoid of the heroism that Blanche so desperately needed. On the conflict between the â€Å"sensitive, non-conformist† individual against conventional society, we have to re-examine Blanche Dubois. From the beginning of the play, we are well aware of Blanche’s â€Å"sensitive, non-conformist† characteristics. She is someone who was unwilling to uphold he civilities that should exist within each person. In her having tarnishing relations with a pupil of hers, she sacrifices the only thing that she had left- her dignity. â€Å"However defensive Blanche becomes, from the moment she enters the stage until the moment she leaves it, she is in search of direction and empathy or â€Å"kindness† of others in order to work through the traumas of the past and present. Ultimately, this search for understanding is he main reason she comes to New Orleans and not simply for a place to stay† (Ribkoff & Tyndall 327). The climax of the grotesque within this play seems to come as a result of Blanche’s sensitive, non-conformist attitude towards life. Her inability to accept responsibility for her current situation is the catalyst to the way that Stanley shows no tolerance for her. Stanley’s brutalities, along with his intolerance for Blanche’s current state of mind, clash to create the ultimately grotesque act of rape later in the play. â€Å"Many critics believe Stanley’s rape of Blanche precipitates her descent into madness. According to Mary Ann Corrigan, this descent is part of the overall trajectory of the play: â€Å"in each of the [play’s] 11 scenes Blanche moves inexorably closer to the disintegration of her mind and the total rejection of reality† (Humanit 334). After the disintegration of the world that Williams created in A Streetcar Named Desire, we are left with the overwhelming themes of the struggle for human affection, dignity, and resolve. Through this in-depth dissection of the characters, plot, and settings, emerge the themes that exemplify the Southern Gothic/grotesque style of writing.

How Sociologists Define Social Control

Sociologists define social control as the way that the norms, rules, laws, and structures of society regulate human behavior. It is a necessary part of social order, for societies could not exist without controlling their populations. Achieving Social Control Social control is achieved through social, economic, and institutional structures. Societies cannot function without an agreed-upon and enforced social order that makes daily life and a complex division of labor possible. Without it, chaos and confusion would reign. The lifelong process of socialization that each person experiences is the primary way social order develops. Through this process, people are taught from birth the behavioral and interactional expectations common to their family, peer groups, community, and greater society. Socialization teaches us how to think and behave in accepted ways, and in doing so, effectively controls our participation in society. The physical organization of society is also a part of social control. For example, paved streets and traffic signals regulate, at least in theory, the behavior of people when they drive vehicles. Motorists know that they should not drive through stop signs or red lights, though some do anyway. And, for the most part, sidewalks and crosswalks manage foot traffic. Pedestrians know that they should not run out into the middle of the street, though jaywalking is fairly common. Lastly, the structure of places, such as aisles in grocery stores, determines how we move through such businesses. When we dont conform to social expectations, we face correction of some sort. This correction can take many forms, including confused and disapproving looks or difficult conversations with family, peers, and authority figures. Refusal to meet social expectations may also result in severe outcomes such as social ostracization. Two Types of Social Control Social control tends to take two forms: informal or formal. Informal social control involves conformity to the norms and values of society as well as adoption of a belief system learned through the process of socialization. This form of social control is enforced by family members and primary caregivers, teachers, coaches peers, and colleagues. EyesWideOpen/Getty Images Rewards and punishment enforce informal social control. Reward often takes the form of praise or compliments, good grades, job promotions, and social popularity. Punishment tends to involve relationships ending, teasing or ridicule, poor grades, being fired from work, or withdrawal of communication. City, state, and federal agencies such as the police or the military enforce formal social control. In many cases, a simple police presence is enough to achieve this form of control. In others, police might intervene in a situation that involves unlawful or dangerous behavior to stop the misconduct and maintain social control.   Alex Livesey/Getty Images Other government agencies, including those that regulate building codes or the goods businesses sell, enforce formal social control also. Ultimately, it is up to formal bodies like the judiciary and penal systems to issue penalties when someone violates the laws that define formal social control. Updated  by Nicki Lisa Cole, Ph.D.