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Group: All-Stars Equity Theory Process theory is a commonly used form of scientific research study in which events or occurrences are said to be the result of certain input states leading to a certain outcome stat, following a set process. Process theory holds that of an outcome is to be duplicated, so too must the process which originally created it, and that there are certain constant necessary conditions for the outcomes to be reached. When the phrase is used in connection with human motivation, process theory attempts to explain the mechanism by which human needs changes. Equity theory falls into the process theory. John Stacey Adams, workplace and behavioral psychologist, put forward his Equity Theory on job motivation in 1963. There are similarities with Charles Handy's extension and interpretation of previous simpler theories of Maslow, Herzberg and other pioneers of workplace psychology, in that the theory acknowledges that subtle and variable factors affect each individual's assessment and perception of their relationship with their work, and thereby their employer. Awareness and cognizance feature more strongly than in earlier models, as does the influence of colleagues and friends, etc, in forming cognizance, and in this particular model, ‘a sense of what is fair and reasonable’. Equity or inequity is a psychological state residing within an individual. It creates a feeling of dissonance that the individual attempts to resolve in some manner. The notion of "equity" is associated with justice and fairness. The individual fundamentally believes that they are being treated fairly in comparison to what they see others receiving. Equity is a social comparison process, resulting when individuals compare their pay to the pay of others. There is no "rational" or single "equitable pay rate" for any given job or individual. Equity is a subjective evaluation, not an objective one. Based on the comparison that individuals use, each individual is likely to develop different perceptions of equity. The comparisons individuals use tend to fall into five classes of comparison: 1. Job Equity- Individuals compare their pay to the pay of other individuals in the same position they hold within their organization. 2. Company Equity- Individuals compare their pay to the pay of other individuals holding the different positions within their organization. 3. Occupational (Market) Equity- Individuals compare their pay to the pay of other individuals holding the same position in other 4. Cohort Equity- Individuals compare their pay to the pay of others in similar cohort groups, generally age and education.

The Glass Menagerie (Critical Article #1)

Journal of the American Psychoanalytic Association http://apa. sagepub. com Tennessee Williams: The Uses of Declarative Memory in the Glass Menagerie Daniel Jacobs J Am Psychoanal Assoc 2001; 50; 1259 DOI: 10. 1177/00030651020500040901 The online version of this article can be found at: http://apa. sagepub. com/cgi/content/abstract/50/4/1259 Published by: http://www. sagepublications. com On behalf of: American Psychoanalytic Association Additional services and information for Journal of the American Psychoanalytic Association can be found at: Email Alerts: http://apa. agepub. com/cgi/alerts Subscriptions: http://apa. sagepub. com/subscriptions Reprints: http://www. sagepub. com/journalsReprints. nav Permissions: http://www. sagepub. com/journalsPermissions. nav Citations http://apa. sagepub. com/cgi/content/refs/50/4/1259 Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 jap a Daniel Jacobs 50/4 TENNESSEE WILLIAMS: THE USES OF DECLARATIVE ME MORY IN THE GLASS MENAGERIE Tennessee Williams called his first great work, The Glass Menagerie, his â€Å"memory play. The situation in which Williams found himself when he began writing the play is explored, as are the ways in which he used the declarative memory of his protagonist, Tom Wingfield, to express and deal with his own painful conflicts. Williams’s use of stage directions, lighting, and music to evoke memory and render it three-dimensional is described. Through a close study of The Glass Menagerie, the many uses of memory for the purposes of wish fulfillment, conflict resolution, and resilience are examined. T he place: St. Louis, Missouri.The year: 1943. Thomas Lanier Williams, age thirty-two, known as Tennessee, has returned to his parents’ home. He has had a few minor successes. Several of his shorter plays have been produced by the Mummers in St. Louis. For another, staged by the Webster Grove Theater Guild, he was awarded an engraved silver cake plat e. He has retained Audrey Wood as his literary agent and with her help had several years earlier won a Rockefeller fellowship to support his writing. But Williams’s Fallen Angels bombed in Boston the previous summer.Its sponsor, the Theater Guild, decided not to bring the play to New York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more often than not. He has no home of his own. He’s led an itinerant existence, living in New Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute; faculty, Massachusetts Institute for Psychoanalysis; Assistant Clinical Professor of Psychiatry, Harvard Medical School.Submitted for publication October 12, 2001. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobs—waiting tables, op erating an elevator, ushering at movie theaters—tasks for which he is not f itted and from which he is often f ired. His vision in one eye is compromised by a cataract that has already necessitated surgery. And just before moving back home from New York, he was beaten up by sailors he took to the Claridge Hotel for a sexual liaison.Arriving home in 1943, Tennessee f inds many things unchanged: his parents, Cornelius and Edwina, remain unhappily married and their bitter quarrels f ill the house. Williams must again deal with the father he despises. Tennessee is pressured by Cornelius, who opposed his return home, to f ind a job. If Tennessee will not return to work at the International Shoe Company, as Cornelius advises, then he must earn his keep by performing endless domestic chores. But it is the changes in the family that are even more troubling. Williams’s younger brother Dacon is in the army and may be sent into combat after basic training.His maternal grandparent s have moved in because Grandma Rose, now conf ined to an upstairs bedroom, is slowly dying. Most important of all, Tennessee’s beloved sister, also named Rose and two years older than he, is no longer at home. She has in fact been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently undergone a bilateral prefrontal lobotomy to control her aggressive behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst time since her surgery.He f inds her behavior more ladylike, but she remains clearly delusional. The lobotomy, Williams realizes, was â€Å"a tragically mistaken procedure† that deprived her of any possibility of returning to â€Å"normal life† (Williams 1972, p. 251). â€Å"The poor children,† he will write of his St. Louis childhood, â€Å"used to run all over town, but my sister and I played in our own back yard. . . . We were so close to each other, we had no need o f others† (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost except as a memory, alternately recalled in pain and shut out in self-defense.Williams cannot abide his situation, thrown amid his parents’ bitter quarrels, the slow death of his grandmother, and the terrible absence of his sister. His only escape: the hours of writing he does every day in the basement of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the â€Å"memory play† that he f irst calls The Gentlemen Caller and then Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE The Glass Menagerie.The play is a brilliant, profound, and intricate study of declarative memory and its psychological uses. DECLARATIVE MEMORY Declarative memory is the system that provides the basis for conscious recollection of facts and events. But this system, we know, is not just a warehouse of information, of veridical memories of actual happenings that can be retrieved at will. Rather, like an autobiographical play, declarative memory is a creative construction forged from past events and from the fears, wishes, and conf licts of the one who is remembering.As Schacter (1995) notes, â€Å"The way you remember depends on the purposes and goals at the time you attempt to recall it. You help paint the picture during the act of recalling† (p. 23). It was just this complex and creative aspect of memory formation that led Freud (l899) to write that â€Å"our childhood memories show us our earliest years but as they appeared in later periods when memory was aroused† (p. 322). The stories we tell of our lives are as much about meanings as they are about facts. In the subjective and selective telling of the past, our histories are not just recalled, but reconstructed.History is not recounted, but remade. Williams understood this when he wro te, in the stage directions of The Glass Menagerie, that â€Å"memory takes a lot of license, it omits some details, others are exaggerated to the emotional value of the article it touches, for memory is seated predominantly in the heart† (p. 21). Williams has Tom Wingf ield, the play’s protagonist, tell us this. In his opening speech, Tom is both creative artist and unreliable rememberer: â€Å"I have tricks in my pockets. I have things up my sleeve. . . . I give you truth in the pleasant guise of illusion† (p. 2). In this way, Williams warns us from the play’s beginning that memory is a tricky business—f ickle, changeable, susceptible to distortion and embellishment, but always true to the current emotional needs of the rememberer. This paper is an exploration of the emotional needs of the rememberer—of Tom Wingfield, the rememberer in the play, and Tom Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to emphasize the loosening of boundaries between fact and f iction.It is as though he is telling us that autobiography—which is, after all, organized declarative memory—is Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jacobs 1262 an elaborate f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. Both Tom Wingf ield and Tom Williams carry a burden of guilt for leaving the family, especially a disabled sister, and have a need to justify their behavior through the use of recollection.Both Toms live with deep sorrow alongside a wish to retaliate against loved ones who have disappointed them. Remembering is for both Toms, as for all of us, a coat of many colors, worn to set us apart from others as well as link us to them, to justify our choices, to take revenge on others, to compete with them, to kill them once again, or to resur rect them from the grave. The distortions and selective uses of memory are as manifold as the needs of the rememberer. Williams endows each character in his play with his or her own dynamic uses of memory.Amanda can escape the harshness of her current situation by evoking memories of a triumphant past. She is like a patient Kris (l956b) describes who â€Å"while the tensions of the present were threatening . . . was master of those conjured up in recollection† (p. 305). Amanda’s use of memories is aggressive as well, used as a weapon against her husband and children. In constantly contrasting the memories of a happy youth with the unhappiness of her marriage and the bleakness of her children’s lives, her anger and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories.But the memory of Jim, the gentleman caller, provides her a modicum of comfort. In a pale and pathetic imitation of her mother’s recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the sobriquet â€Å"blue roses. † It is a nickname derived from his psychologically intuitive misunderstanding of the illness â€Å"pleurosis,† which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her glass menagerie, where memory and imagination are safely stored—until Jim arrives.The gentleman caller is a man who lives in the present and seems to have little use for the past. It is the future to which he looks. In fact, one feels that memory of his high school greatness are both a satisfaction and a threat to him. For he, like John Updike’s Harry Angstrom (1960) will never experience the glory days of the past. He says as much to Laura: â€Å"But just look around you and you will see lots of people disappointed as you are. For instance, I had h oped when I was going to high school that I would be further along at this time, six years later, Downloaded from http://apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE than I am now. You remember that wonderful write-up I had in ‘The Torch’ † (p. 94). While Amanda revels in her triumphant past as a way of dealing with the present, Jim runs from his into the future. Seeing in the crippled Laura some aspect of his own feared limitations, he tries to help her overcome hers through encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspect of memory, he wrote that â€Å"when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the delica te and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise behind it the ineluctable form of Ophelia† (Leverich 1995, p. 536). The very presence of memory implies loss.Memory, if you will, is the exquisite lifelike corpse that both denies and acknowledges what has passed away. There is for all of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably leads to disintegration and death. The daffodils recollected in tranquility are, at the same time, Ophelia’s garland. Amanda Wingf ield’s recollection of her past social triumphs only reminds us of how much time has passed and how many hopes have been dashed.Laura’s attachment to the happy memories of childhood innocence represented by her glass menagerie only makes harsher the realities of her adult life an d the bleakness of her future. Laura and Amanda are represented as having a choice between the infantile omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and uncertain future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986).Similarly, behind Tom the protagonist’s memory of Laura at home lies, for Tom the author, the real Rose in a current state of institutionalized madness. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1263 Daniel Jacobs MEMORY AND RESILIENCE 1264 Davis (2001) points out the contribution declarative memory can make to resilience â€Å"through soothing af fects that are evoked in recalling a declarative memory of a loving relationship with a parent or other important pe rson† (p. 459).Such memories can grow directly out of warm relationships or â€Å"they can be achieved through retrieving and modifying memory of more problematic attachments† (p. 466). Davis illustrates his point with the example of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrne’s memories of his father changed. At age forty-six, surrounded by a supportive community and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not think his father’s being a f ireman had inf luenced his own decision to become one.At sixty-six, retired and with his children grown, Mr. Byrne â€Å"had succeeded in ‘f inding’ his father inside as a sustaining inner object in declarative memory (p. 465). He did so through creating or retrieving warm memories of their times together in the f irehouse and by ‘misrememberingâ€⠄¢ the humiliating events of his father’s death so as to have a more positive image of him. Mr. Byrne’s father had committed suicide, alone and away from the family. But late in life, Mr. Byrne spoke frequently of his father’s having taken him to the f ire station when he was a youngster.He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He placed his father’s death in a family setting and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to maintain psychological resilience and mental health. Whatever good experiences Mr. Byrne did have with a diff icult and neglectful father seem to have been magnif ied through the lens of memory aided by imagination in the service of wish fulf illment.It is an example of what Kris (1956a) meant by describing autobiographical memory as telescopic, dynamic, and lacking in autonomy: â€Å"our autobiogra phical memory is in a constant state of f lux, is constantly being reorganized, and is constantly being subject to the changes which the tensions of the present tend to impose† (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty over his sister’s fate, f inding St. Louis and his family unbearable, Williams begins writing a play that both ref lects his current Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE suffering and at the same time assuages it. In writing The Glass Menagerie, he creates for himself one of those delicate glass animals— a small tender bit of illusion that relieves him of the austere pattern of life as it is lived in the present and makes it more bearable. He does so not by setting his play in the harsh realities of the present, too painful to write about, but in creatively altered memory. Sitting at his writing table, Wil liams reclaims his sister (Laura in the play) from the State Asylum and places her at home again.She is not frankly delusional and lobotomized. She is not even in Rose’s presurgical state of illness—a state of aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face daily, is gone. Gone from the play for dramatic purposes to be sure: the play would lose a certain edge were there another breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man.Yet he is not entirely gone, for the father’s picture hangs on the wall, like Hamlet’s ghost, reminding us of a son’s ambivalent longing for a father. For in 1943 and throughout his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supp ortive, loving father is transformed into the wish for the gentleman caller—someone who, unlike his father, will help Laura, satisfy Amanda, and, by his assuring presence, bless Tom’s own departure. He is not only the person Williams longs for, but also the one he longs to be, though he knows it is a role he can never play.It is no accident then that Jim, the gentleman caller, conveys an uncomfortable uncertainty about his future. He is, in a sense, the failed high school â€Å"hero,† with perhaps unrealizable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses resentment at having to work at two jobs: his work and his marriage, in which he has to â€Å"punch the clock† every night with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear sympathy and attraction to women other than his f iancee.Tennessee’s father, a bitter man from a prominent Southern fa mily, a heavy drinker and a womanizer, while banned from the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is likewise disappointing and cannot be counted on and who, in the future, may come to resemble Cornelius. In his own life, Williams found and lost gentlemen callers hundreds of times over. And when he was Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1265 Daniel Jacobs ot looking for the gentleman caller, he was being one, abandoning and disappointing those who loved him. The only one he was truly faithful to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a particular moment may represent aspects of the rememberer’s own personality. Amanda’s steely will to survive is ref lected in Tom’s stubborn insistence on leaving. Laura’s fragility and submissiveness are what he must try to get away from in himself. Jim is the artist manque , the average joe Tom fears he will become if he doesn’t leave. THE STAGING OF MEMORY 1266Through the very structure of his play and the physical placement of its characters, Williams shows us that we cannot have a past without a present or a present uninf luenced by the past. He takes us back and forth in time as Tom Wingf ield literally steps in and out of the railroad f lat of his memory. He both ref lects on his past and participates in it, as his memories come alive. All the play’s characters slip in and out of memory, from present to past and back again, as they interact with one another, forging their current identity and present relationship in the anvil of a past they selectively remember.The stage set that Williams proposed concretizes the alternating forward and backward movement of time that takes place in the characters’ and in all of our minds. Tom’s opening soliloquy is stage front in the present and is often played outside the apartment. T he scene that follows is from the past, set in a dining room at the back of the stage, as if to emphasize the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way: to emphasize through spotlighting the highly selective and highly cathected aspects of memory.Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heightening the shifting play of memory. Williams is specif ic about the use of lighting in his production notes for The Glass Menagerie: â€Å"The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and imaginative use Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE G LASS MENAGERIE of light can be of enormous value in giving mobile, plastic quality to plays of more or less static nature† (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the audience— memories of their own youthful stirrings, with all the fears and pleasures that attend them. Schacter (1996) notes that it is the memories of adolescence and early adulthood that are most often retained as we grow older.In asking Paul Bowles to write a new piece of music for his play, Williams, I think, is playing with the notion that memory is a new creation, similar to Bowles’s new music, Williams counts on the fact that while the score has never been heard before by the audience, it nevertheless feels familiar and seems a part of one’s previous experience. While the music may stimulate declarative memories of young adulthood in the audience, by its wordlessness it is designed to evoke no ndeclarative memory experienced as a feeling state (Davis 2001).By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. CONCLUSION 1267 So we have Tom Williams in his basement room writing about Tom Wingf ield. His protagonist is thrust both forward and backward in time: Tom Wingf ield in 1945 is ref lecting on a time before World War II began. Tom Wingf ield is Tennessee and not him at the same time. The memories Williams calls forth from his own experiences are transformed in ways that are not only dramatically but psychologically necessary for the author.Rendering the truth through selective and transformed memory, Williams creates his own glass menagerie to which he could each day retreat from the harsh realities of his life in St. Louis in l943. He creates fragile f igures he can control, moving them around the imagined setting of creative memory. In creating the play, he can always be near Rose. On the page and on the stage, the two are bound forever, like f igures on a Grecian urn. At the same time, the play is a justif ication for Tennessee’s departure from the family, a plea for understanding as to why he must leave the altered Rose (his castrated self) behind and pursue his own path.Freud (1908) pointed out how both in creative writing and fantasy â€Å"past, present, and future are strung together, as it were, on the thread of the wish that runs through Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1268 them† (p. 141). In the process of writing The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of castration that Rose’s situation and his own imply, f inds a solution to his torments.He does what Tom Wingf ield does in the play. He leaves. By May of l943, Tennessee is on his way to Hollywood to b ecome, for a short time, a screenwriter. But like Tom Wingf ield, Tennessee cannot leave his past behind. He will be as faithful to Rose as Tom Wingf ield is to Laura when at the play’s end he says, â€Å"I tried to leave you behind me, but I am much more faithful than I intended to be† (p. 115). Of their relationship, Rasky (l986) wrote, â€Å"Just as Siamese twins may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the history of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister† (p. 51). Peter Altman, former director of Boston’s Huntington Theater, points out how with the writing of The Glass Menagerie Williams blows out the candles on an overtly autobiographical form of writing and moves on to create full-length plays less obviously reliant on the concrete details of his own history (private communication, 1997). While he could never psychologically free h imself from the traumatic events of his upbringing, artistically he was able to move ahead.By creating within and through the play his own glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is akin to Kris’s description of the personal myth (1956a): â€Å"A coherent set of autobiographical memories, a picture of one’s course of life as part of the self-representation [that] has attracted a particular investment, it is defensive inasmuch as it prevents certain experiences and groups of impulses from reaching consciousness. At the same time, the autobiographical self-image has taken the place of a repressed fantasy . . † (p. 294). But in the patients Kris described, sections of personal history had been repressed and the autobiographical myth created to maintain that repression. In Williams’s case, he is quite conscious of the distortions in his â€Å"memory play,† but creativity serves a function for the artist similar to that served by personal myth in Kris’s patients. Williams is able to separate further from his family by keeping himself, through his memory play, attached to them forever, selectively remembered and frozen in time in a way painful, yet acceptable, to him.By writing the play, a visual representation of memory and Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE wish, Williams creates a permanent wish-fulf illing hallucination providing gratif ication and psychic survival (see Freud 1908). Of his sister Rose’s collection of glass animals, which was transformed into Laura’s glass menagerie, Williams wrote that â€Å"they stood for all the small tender things (including, I think, happy memories) that relieve the austere pattern of life and make it endurable to the sensitive.The areaway [t he alley behind his family’s f lat in St. Louis, where cats were torn to pieces by dogs] was one thing—my sister’s white curtains and tiny menagerie of glass were another. Somewhere between them was the world we lived in† (Nelson 1961, p. 8). What enables Williams to survive psychically and adds to his resilience in St. Louis in l943 is, I believe, his ability to create a space between the bitter realities of family life and his impulse to f lee and forget it all—to blow out the candles of memory.That space was his memory play, a space he inhabited daily through his writing, a space of some resilience where psychologically needed memories are created amid the pain and sorrow of the present. And in so doing, he reminds us all of the role memory plays in our survival. Our memories are like glass menageries, precious, delicate, and chameleonlike. We can become trapped by them like Laura and Amanda. Or, as in the case of Tennessee and Mr. Byrne, we can gain resilience from their plasticity that allows us to move forward psychologically.Williams wrote, in his essay â€Å"The Catastrophe of Success† (1975), that â€Å"the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition† (p. 17). Tennessee felt that for him the heart’s opposition could best be expressed through writing. He felt that the artist, his adventures, travels, loves, and humiliations are resolved in the creative product that becomes his indestructible life. (Leverich 1995, p. 268) I think he might have agreed that while creative work plays that role for the artist, memory and fantasy are its equivalent for all of us.Williams knew that it is through the creative transformation of experience, sometimes in verse, sometimes in memory, that we draw nearer to that â€Å"long delayed but always expected something we live for† (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). Gone but not forgotten: Declarative and non-declarative memory processes and their contribution to resilience. Bulletin of the Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1270 Menninger Clinic 65:451–470. FREUD, S. (1899). Screen memories. Standard Edition 3:301–322. ——— (1908). Creative writers and day-dreaming.Standard Edition 9:143–153. K RIS , E. (1956a). The personal myth. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 272–300. ——— (1956b). The recovery of childhood memories in psychoanalysis. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 301–340. LEVERICH, L. (1995). Tom: The Unknown Tennessee Williams. New York: Norton. NELSON, B. (1961). Tennessee Williams: The Man and His Work. New York: Obolensky. RASKY, H. (1986). Tennessee Williams: A Portrait in Laughter and Lamentation. Niagara Falls: Mosaic Press . SCHACTER, D. (1995).In Search of Memory. Cambridge: Harvard University Press. SCHNEIDERMAN, L. (1986). Tennessee Williams: The incest motif and f ictional love relationships. Psychoanalytic Review 73:97–110. UPDIKE, J. (l960). Rabbit, Run. New York: Knopf. WILLIAMS, T. (1945). The Glass Menagerie. New York: New Direc-tions, l975. ——— (l972). Memoirs. New York: Doubleday. ——— (l975). The catastrophe of success. In The Glass Menagerie. New York: New Directions, 1975, pp. 11–17. 64 Williston Road Brookline, MA 02146 E-mail: [email  protected] com Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009

The Novel Lili by Anna Wang - 1344 Words

Ralph Waldo Emerson once said â€Å"To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.† This is a strong belief Annie Wang incorporates into her novel, Lili. The main character, Lili, struggles to find what to do with herself amidst the communist oppression of China. Many of the experiences that Lili, along with other characters, face throughout the novel are directly related to Wang’s own life experiences. Three of the important values Wang shares with characters in her book are curiosity, independence and rebelliousness. Curiosity is a moving trait Wang bestows on the love interest of Lili in the novel, Roy Harper. Roy is a wealthy America journalist who travels to China, to†¦show more content†¦Growing up, Wang was also very independent from the people around her. During a personal email interview with Wang, she stated, â€Å"Yes, I think independent thinking is very important/courageous in a conformist society.† One important step Wang took in her life was to establish her own career path, instead of a traditional Chinese job, much like Lili. She wanted to pursue being an author, as well as study at an American University. Wang said of her parents, â€Å"They wished I had a ‘real’ job.† (â€Å"Beijing’s Badgirl† 2) While Wang lived in Beijing, she felt the need to independently support the movement in Tiananmen Square. She claimed â€Å"I went to Tiananmen for the freedom of press the freedom of everything† in an email interview. Ironically, it is Tiananmen itself that inspired her most independent work yet. Wang embarked on a journey to write a book on it, Lili, in English and all by herself. Incredibly, she accomplished this with little English experience beforehand, however, she was steadfast, saying â€Å"Sometimes I spent three days or a week just to search for a proper word [†¦]† (â€Å"Conversat ion† 1) and finished ten years later. It was independent acts like these that were stirred into action by yet another value shared between Wang and her novel’s main character. Social and political influences are the powerful forces that drive rebellion in Lili. Lili, who at a young age was a musical prodigy,

How to Find the Symbol of an Ion

This worked chemistry problem demonstrates how to determine the symbol for the ion when given the number of protons and electrons. Problem: Give the symbol of an ion that has 10 e- and 7 p. Solution: The notation e- refers to electrons and p refers to protons. The number of protons is an elements atomic number. Use the periodic table to find the element with an atomic number of 7. This element is nitrogen, which has the symbol N. The problem states that there are more electrons than protons, so we know the ion has a negative net charge. Determine the net charge by looking at the difference in the number of protons and electrons: 10 - 7 3 more electrons than protons, or a 3- charge. Answer: N3- Conventions for Writing Ions When writing the symbol for an ion, the one- or two-letter element symbol is written first, followed by a superscript. The superscript has the number of charges on the ion followed by a (for positive ions or cations) or - (for negative ions or anions). Neutral atoms have a charge of zero, so no superscript is given. If the charge is /- one, the 1 is omitted. So, for example, the charge on a chlorine ion would be written as Cl-, not Cl1-. General Guidelines for Finding Ions When the numbers of protons and electrons are given, its easy to figure out the ionic charge. More often, you wont be given this information. You can use the periodic table to predict many ions. The first group (alkali metals) usually have a 1 charge; the second group (alkaline earths) usually have a 2 charge; halogens usually have a -1 charge; and noble gases typically dont form ions. The metals form a wide variety of ions, usually with a positive charge.

Symptoms And Treatment Of Depression - 1431 Words

Introduction: What is Depression? Depression is a type of mood disorder characterized by persistent and profound sadness, hopelessness, helplessness, and feelings of worthlessness. While depression may be a common disorder in many cultures, not many people know about its different types and more importantly how to help themselves or others in the recovery process. There are in fact multiple types of depressive conditions each characterized by its own causes, courses, patterns outcomes, and specific types of treatment. The most common disorders include: bipolar disorder, depressive personality disorder, and major depressive disorder. Of the more common conditions, major depressive disorder (MDD) is one of the most commonly diagnosed mental illnesses in the United States each year. Symptoms of this unique condition include a lack of energy, a loss of interest in usual activities, a loss of ability to concentrate, suicidal thoughts, as well as appetite and sleep disturbances. These symptoms typically last for two or m ore weeks and often interfere with relationships and responsibilities related to school, work, and home. Causes of the Disorder There has yet to be a single cause linked to this particular mental condition. This illness has been assumed to be the result of a combination of factors, including: genetic, biochemical, and social factors. Various studies have confirmed that genetic factors play a role in most forms of depression. Studies have shown that if one parentShow MoreRelatedDepression Symptoms And Treatment Of Depression935 Words   |  4 Pagestreated for depression but your symptoms haven t improved, you may have treatment-resistant depression. Taking an antidepressant or going to psychological counseling (psychotherapy) eases depression symptoms for most people. But with treatment-resistant depression, standard treatments aren t enough. They may not help much at all, or your symptoms may improve, only to keep coming back. If your primary care doctor prescribed antidepressants and your depression symptoms continue despite treatment, ask yourRead MoreSymptoms And Treatment Of Depression1015 Words   |  5 Pagesmoods, thinking or behavior. Fortunately, treatment for mental illness or mental disorders can lead to recovery; and although treatment may include medication, it ideally also includes psychosocial therapies and support. The mental illness I will focus on is a mood disorder called depression, or major depressive disorder. Depression is the most common mood disorder, and one of the most common mental illnesses. Depression is a mood disorder clinical depression affects how you feel, think and behave andRead MoreSymptoms And Treatments Of Depression1274 Words   |  6 PagesDepression is a major issue affecting many in a person’s everyday life. There are many ways to combat depression, whether it be medication such as antidepressants or therapeutic treatments such as psychotherapy, electroc onvulsive therapy, light therapy or even herbal remedies. (â€Å"Diseases and Disorders: Depression†). Antidepressants temporarily stop depression, but since the side effects can be harmful or life threatening, alternative treatments are a much safer and efficient way to combat depressionRead MoreSymptoms And Treatment Of Depression1230 Words   |  5 Pagesmood disorder are really common and can seek treatment but some can be really rare and hard to cure even with treatment. Some of the major types of mood disorders are depression, anxiety, bipolar, and schizophrenia. Anybody at any age can develop a mental disorder, usually occurred during times of painful events or traumatizing experiences. Depression is a serious illness that caused by changes in the brain chemistry. Many people believed that depression is feeling down or sad, however, it is actuallyRead MoreDepression : Symptoms And Treatment Essay1592 Words   |  7 PagesWhat is Depression? Depression is a condition in which a person feels discouraged, sad, hopeless, unmotivated, or disinterested in life in general (Depression II). Depression is a serious mental illness that does the aforementioned as well as much more. When a person is depressed, it can interfere with daily and normal functioning as well as can cause pain for the person with it and those around them, and this is what doctors call ‘Clinical Depression’. Depression is more than just a simple sadness;Read MoreSymptoms And Treatment Of Depression1468 Words   |  6 PagesManagement of Care Depression is one of the major causes of disabilities and it can affect anyone, regardless of age, gender, race, or culture. People who suffer from depression are a higher risk for suicide, and that is magnified if there is any family history of suicide, or other history of disorders like anxiety or panic attacks. Other conditions that can be attributed to a poor prognosis for a person who is depressed is history of substance abuse, low self-esteem, someone who is chronically illRead MoreSymptoms And Treatment Of Depression1180 Words   |  5 PagesIntroduction Depression is a serious and prevalent problem in the 21st century and had been for a long time. It is the most common mood disorder and has a lifetime prevalence rate of 6-25% in international studies (Carr, 2012). Reliable diagnosis is vital for the study of mental disorders (Fried, Epskamp, Nesse, Tuerlinckx Borsboom, 2016) and with the rising issue that depression is, individuals with multiple chronic diseases can be tackling depression occurring at the same time thus, it may complicateRead MoreSymptoms And Treatment Of Depression881 Words   |  4 Pages Depression is a word that people commonly use in everyday life. On any given day you will hear someone say I am feeling depressed, that was depressing, exc, but depression is not just a state of being but  a serious medical condition in which a person feels very sad, hopeless, and unimportant and often is unable to live in a normal way. Because of overuse of this word, people often mistake when someone should be medically diagnosed with depression for them just being sad. This is problematicRead MoreSymptoms And Treatment Of Depression1716 Words   |  7 PagesSevere depression can have a devastating effects on not only individuals, but also on their families and communities. Depressive disorders when severe or prolonged enough can cause some patients to seek to harm themselves, or worse; to seek to end their lives. While over the last century there have been significant strides in the treatment of depression, there still is much work to be done. May medication that treat depres sion take a long time for patient to reach therapeutic dosages, mean that patientsRead MoreSymptoms And Treatment Of Depression1781 Words   |  8 Pagesscientists agree on how to distinguish and define these forms of depression. Psychotic depression occurs when a severe depressive illness is accompanied by some form of psychosis, such as a break with reality, hallucinations, and delusions. Postpartum depression is diagnosed if a mother develops a major depressive episode within one month after childbirth. It is estimated that ten to fifteen percent of women experience postpartum depression after giving birth. Seasonal affective disorder (SAD) is a depressive

The Good Earth’s Relationship Between Wang Lung and O-Lan Free Essays

The relationship between O-lan and Wang Lung is stabilized by O-lan’s hard work and resourcefulness, based largely upon a woman’s inferiority, and threatened by superficial tendencies. Their affiliation also ends romantically with the loss of love and is regretted, in the end, with sufficient sympathy. O-lan proves to be beneficial through means of outdoor labor. We will write a custom essay sample on The Good Earth’s Relationship Between Wang Lung and O-Lan or any similar topic only for you Order Now In the afternoon she took a hoe and a basket and these upon her shoulder she went to the main road leading into the city where mules and donkeys and horses carried burdens to and fro, and there she picked the droppings from the animals and carried it home and piled the manure in the dooryard for fertilizer for the fields† (Buck 29). O-lan also proves her helpfulness by performing household chores, to much of Wang Lung’s appreciation. â€Å"And she took their ragged clothes and with thread herself spun on a bamboo spindle from a wad of cotton she mended and contrived to cover the rents in their winter clothes† (Buck 29). Although this is true, Wang Lung’s gratitude towards O-lan appears repressed as he constantly hides his feelings for her in the beginning. The protagonist immediately becomes mortified by his affection for O-lan. â€Å"And then he was ashamed of his own curiosity and of his interest in her† (Buck 30). Wang Lung subsequently attempts to dissuade these thoughts. O-lan’s aid and usefulness obviously weakens the tension between both spouses and creates a more mutual, stable life at home. Arguments are rarely heard amongst the lips of either husband or wife. This may be due to O-lan’s unusual quietness. â€Å"But she never talked, this woman, except for the brief necessities of life† (Buck 30). This silence almost utterly terminates all heated conversations. However, it also enhances her appearance as a slave and overall working image. â€Å"But in the day her clothes, her plain blue cotton coat and trousers, covered all that he knew, and she was like a faithful, speechless serving maid, who is only a serving maid and nothing more† (Buck 30). Women, in ancient cultures are, as shown in The Good Earth, thought to be of lesser value than that of men. She was, after all, only a woman† (Buck 30). On numerous occasions, O-lan is treated as if she is a piece of property obtained by her new husband. â€Å"It seemed that during these next months he did nothing except watch this woman of his† (Buck 28). Wang Lung acts this way due to the environment in which he grew from, where both elders and men reign, leaving women at the bottom of the totem pole. Wang Lung’s uncle once questioned, â€Å"Have you not heard it said that in the Sacred Edicts it is commanded that a man is never to correct an elder,† (Buck 66). As the novel progresses, Wang Lung’s thoughts of his wife’s exterior begin to surface as superficial tendencies emerge. He complains of her horrid hair and rough features. â€Å"He saw for the first time that her hair was rough and brown and unoiled and that her face was large and flat coarse-skinned, and her features too large altogether and without any sort of beauty or light† (Buck 179-180). These cruel comments are the first slap in the face of O-lan, as Wang Lung’s manly instincts begin to kick in and he discovers beauty abroad. Lotus enters the story when Wang Lung gives into the temptation of lust. He buys her, despite the fact that he is a married man. Threatening the relationship between O-lan and Wang Lung, Lotus slowly tears the couple apart even more than they were before. Earlier in the novel, during the raid of an aristocrat’s home, O-lan finds many valuable gems within the walls. Once money becomes a necessity, Wang Lung asks for the gems in order to grant them to the House of Hwang in return for additional land. O-lan is allowed to keep only two of her choosing and she quickly decides on two pearls: And he was moved by something he did not understand and he pulled the jewels from his bosom and unwrapped them and handed them to her in silence, and she searched among the glittering colors, her hard brown hand turning over the stones delicately and lingeringly until she found the two smooth white pearls, and these she took, and tying up the others again, she gave them back to him. (Buck 157-158) These white spheres represent more than just the upcoming twins. They also symbolize Wang Lung’s love for O-lan, no matter how limited it may be. Once Wang Lung becomes completely entangled inside Lotus’s web of desire, he demands that O-lan give him the pearls at once so he could, in turn, award them to his concubine. This simple act may be construed as Wang Lung’s thievery of his affection for O-lan and Lotus’s gain in the matter. As O-lan begins to die, she utters a phrase that entirely reveals all of her inner thoughts. â€Å"Well I know I am ugly and cannot be loved—,† (Buck 277). These ideas show her lack in confidence that may have been even more destroyed with Wang Lung’s brutal behavior and harsh words. Wang Lung, however, felt guilt beyond measure and â€Å"wondered and grieved at himself most of all because what she said was true, and even when he took her hand, desiring truly that she feel his tenderness towards her, he was ashamed because he could feel no tenderness, no melting of the heart such as Lotus could win from him with a pout of her lips† (Buck 277). This not only serves as evidence of Wang Lung’s sympathy towards O-lan and his regret for everything that he induced. It also reiterates the fact that Wang Lung and O-lan’s relationship changed instantaneously as his feelings for Lotus blossomed. How to cite The Good Earth’s Relationship Between Wang Lung and O-Lan, Papers

Stress and Its Impacts at Workplace-Free-Samples for Students

Question: Discuss about the Stress and Its Impacts at Workplace. Answer: Stress can be defined as state of mind which is developed under the pressure of extremely demanding situation at work place. Work related stress Work related stress is caused by the tension that arises from deterioration of work situation and inability of a person to adopt that situation (Hassard et al. 2018). Excessive demand of job which does not fit into the comfort level of a worker, uncertainty about the security and stability of job, conflict between workers and managers, constant changes in the pattern of work, lack of opportunities can also be referred as work related stress. The work related stress also includes harassments which can be in form of sexual harassment or bullying a person. The impacts of work related stress can cause mismanagement at work place .It can also decrease the productivity of workers and can increase the issue of absenteeism and lack of motivation among workers (Hassard et al. 2018).Work related stress can damage the good will of the organization. Non Work related stress Stress which does not its source at work place can be defined as non-work related stress. Family problems or financial problems or health related problems can create a stressful situation for a worker (Peckham, Hajat and Seixas 2016). Social disorientation can also lead a person to a stressful situation. Non-work related stress can make a worker inattentive at the workplace which can decrease that persons productivity (Peckham, Hajat and Seixas 2016). It also affects the mental stability of a worker and behavioral issues of that person at workplace may arise. This type of stress can also undermine the work-life balance. References Hassard, J., Teoh, K.R., Visockaite, G., Dewe, P. and Cox, T., 2018. The cost of work-related stress to society: A systematic review.Journal of occupational health psychology,23(1), p.1. Peckham, T., Hajat, A. and Seixas, N., 2016. P246 Measurement and integration of work-and non-work-related psychosocial stressors.