Rebecca said: Gladwell argues that success is Essay: Malcom Gladwell - 'The Tipping point" - Essay UK This free English Literature essay on Essay: Malcom Gladwell to create an impact and lastly the power of context which articulates that human beings can The Power of Context by Malcolm Gladwell essay | Expert The Power of Context by Malcolm Gladwell essay.
I was talking about trigger warnings with the writing director at Scripps. I told her that the only student I’d taught who was so uncomfortable with course material that he had to leave the room was a young Christian man (another Asian American, as it turns out), who excused himself before a class discussion of the sexually explicit lesbian novelist Jeanette Winterson. I was naïve enough to think that the director would be sympathetic to the student’s situation. Instead, she snorted with contempt. (For the record, I myself was none too happy with his move. But then, I don’t believe in trigger warnings in the first place.) Progressive faculty and students at selective private colleges will often say that they want to dismantle the hierarchies of power that persist in society at large. Their actions often suggest that in fact they would like to invert them. All groups are equal, but some are more equal than others.
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Save your essays as Malcolm Gladwell did in his chapter of Tipping Points, Power Of Context Gladwell Essays | Ultra zxThe Tipping Point: Reading Guide – Chapter Four - Malcolm Gladwell Is Bernie Goetz a cold-blooded murderer or a heroic vigilante?
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In dojinshi the body of the individual creator or reader is recontextualized in relationship to myriad other bodies and thus the boundaries of gender are deconstructed, recombined, and reconstructed symbolically. The symbolic bodies are not, however, one construct but an entire spectrum of bodies and ways of being. The aggressive female, the passive female, and the simultaneously passive and aggressive female become possibilities for being. The powerful female is envisioned, but power and less-power come in many tints, and hues. There exist within the yoai characters thousands of shades of domination and submission, which, interestingly, reinforce cultural stereotypes about the role of women, and on the other hand present new feminist possibilities. It is a broad spectrum of choices, some falling clearly within existing roles and some beyond them. Individual readers may seek their identity within current cultural prescriptions and others may experiment with the virtually unknown. It is the beyond-now which makes yaoi a site for the social reconstruction of gender roles.
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The content of yaoi and boys' love are signs to which we have attached meaning. Our initial interpretations notwithstanding, we have engaged in a semiotic process for which there is no foreseeable end. From one instance of signification emerges more signifiers in an ongoing chain of meanings--a manifestation unlimited semiosis which Eco (1992) examines with such insight. If we were to shift attention from the significance that yaoi may hold for young Japanese females and Japanese society in general to the significance that M/M, dojinshi, and youth-generated popular culture hold for art education, we enter another realm of semiotic possibility. Yaoi, and boys' love are signs of teenage power within the realm of visual cultural. They represent the power of young peoples' artworks in which art teachers play virtually no role. We art teachers should examine these manifestations of power residing within the visual culture of youth in relationship to the visual cultural power represented by formal art education curricula.
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Foucault (1984) viewed power in relationship to knowledge, seeing a mutually constituting relationship between power and knowledge. We may view art education curricula and instruction as well intentioned efforts by the educational establishment and art teachers to educate students through the processes of art-making and acquisition of knowledge relating to the history, philosophy, and interpretation of art and artworks. Encouraged by society, through our instruction we art teachers provide students with art knowledge assumed to contribute to their intellectual, social, cultural, and aesthetic wellbeing. Bourdieu would see art education as an effort to provide students with the advantages that come from possessing certain forms of educational and cultural capital (1984, pp. 53-54). The knowledge associated with cultural capital is, however, conveyed within formal contexts--school classrooms--where adults have enormous power over what students will "learn" about "art." Modernist art educators, for example, believe that students should learn to view artworks from the standpoint of formal qualities--the elements and principles of design--subject matter is of lesser importance. Early proponents of discipline-based art education saw art history, criticism, aesthetics, and art-production, not artworks, as the primary content of art education (Wilson, 1997b, pp. 88-89). Thus, formal art knowledge is formed within relationships where adult-sanctioned power is exercised. This knowledge, when willingly accepted by students, contributes to the development and proliferation of new power relationships--this is certainly the case when an art student is inspired by his or her teacher and subsequently succeeds, say, in having artworks purchased by a prestigious art museum. Students, however, do not always accept the art knowledge offered them by teachers. They may see it as irrelevant, as having little worth. While ignoring the content of formal art instruction, students may prize other forms of visual culture such as comics, anime, video games, and music videos, which are still denigrated by some art teachers.