Counselor Ethics And Responsibilities Of Counseling

Running head: COUNSELOR ETHICS AND RESPONSIBILITIES 1 10 COUNSELOR ETHICS AND RESPONSIBILITIES Counselor Ethics and Responsibilities Thomas J. McCarthy Grand Canyon University: PCN-505 March 2, 2016 Counselor Ethics and Responsibilities There are four ?Ds? of legal and ethical practice: Do I have a Duty to do something? Am I Derelict in fulfilling that duty? Were there any Damages (harm) done? And can what I did be Directly connected to the damages? (Ethics In Counseling: A Complex Issue, 2012) Do I have a Duty to do something? In counseling, I believe we all have a Duty, but, sometimes, depending on the issue, the question becomes who do I have a Duty to ? myself, my God, or the client? This ?D? and the other ?D?s will be discussed forthcoming in the issue I have chosen to discuss. Section 1: Counselor Values 1a) Abortion. When a lot of pro-life proponents are asked to discuss their views on abortion they say that they are against all forms of abortion in all cases EXCEPT in cases of rape and incest. That is not pro-life, that is pro-choice because one is choosing which case to allow abortion and which to not allow. I believe that abortion in all forms, in all cases, should not be allowed. So why do I say this in this rape case? Surely, the victim of rape is not at fault for getting pregnant. It was forced on her. But, also you have to remember that the baby is not at fault also. 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The Precipice Of Knowledge Aldous Huxley s Brave New World

The Precipice of Knowledge The marxist and feminist perspectives are both are utilized to gain a deeper understanding of literature. The feminist lens deals with the role of gender within literature, and the marxist lens focuses on the context of culture and society within literature. Each perspective plays off the other to create a cohesive approach to analyzing Brave New World. Aldous Huxley’s Brave New World highlights the issues associated with a society with a disproportional basis in manufactured social structures. These dysfunctional social structures are created through a fundamental irony: knowledge both unities and destroys humanity. Huxley shows mankind, for the first time in history, united; however, the knowledge and intellect that created this ever lasting peace is also the same factor that stripped mankind of everything that makes it human. Aldous Huxley’s dystopian society, within Brave New World, shows that knowledge is the unifying and destroying thre ad of humanity through the fabricated social hierarchy and preconditioned gender roles. The underpinning of Huxley’s Brave New World is the unifying thread of mankind: knowledge. Through the course of history, mankind has struggled to find and maintain peace. However, in Huxley’s vision of the future mankind has developed, manufactured, and fostered peace all through the knowledge gained from generations past. Mankind has three fundamental factors that drive it and are called â€Å"the functions of life:

Applying the Theories of New Historicism to Eugene ONeills The Hairy Ape free essay sample

It is clear that when this approach is applied to Eugene ONeills play The Hairy Ape, we achieve a more complete understanding of the text. Born on 1888, ONeill writes from a personal point of view that reflects not only his own battles with depression, alcoholism, attempts at suicide, and illness but the general tragedy of the human condition. After reading The Hairy Ape, we can conclude that ONeills early life influenced his writing. Like ONeill, the protagonist, Bob Smith (Yank), leads a painful life because he is caught in destructive situations and paths that he cannot escape, as he searches for ways to adjust to the economic and cultural realities of 1920s New York. ONeill, himself, left school to begin an education in, what he later called, life experience. Over the next six years he worked as a sailor, lived penniless on the waterfronts of New York, Buenos Aires, and Liverpool, became an alcoholic and tried to commit suicide. We will write a custom essay sample on Applying the Theories of New Historicism to Eugene ONeills The Hairy Ape or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page However, at 24, things began to look up for him when he became a reporter for The New London Daily Telegraph. However, things took a turn for the worse when he was diagnosed with tuberculosis. While in hospital, ONeill began to reevaluate his life in what he later termed his rebirth. It is after this period of hospitalization in 1912-1913 that he refocused his life to become a great playwright. Before ONeill, most American Drama was farce or melodrama; however, after ONeill American Theater was transformed into a serious and important cultural institution. For him, the theater was a place to highlight important social issues and ideas. Considered the first great American playwright, his plays deal with the American tragedy through the backdrop of American history and social movements. According to Ulrich Weisstein, ONeill single-handedly catapulted American drama into world prominence (193). Moreover, he introduced the European movements of realism, naturalism, and expressionism to the American stage as devices to express his comprehensive interest in all of life (Magill 323). As a leading playwright, a Nobel Laureate, and four time Pulitzer Prize winner, ONeill, utilized the Expressionist mode†¦ [to] dramatize the tortured inner life of twentieth-century man (203). Originating in art, Expressionism was a reaction against Impressionism, which aimed at painting external reality. In Literature, the Expressionists wanted to create and project their own reality, their own inner ideas and visions of what they perceived. Expressionism does not care about creating an imitation of the world; what it cares about is applying subjective and eccentric views of the world. Thus, ONeill uses the Expressionist mode in The Hairy Ape, in [order to] project the inner experience of the protagonist (Weisstein 194). For instance, in Scene One, ONeill uses light and the lack of it to express the stark contrast between the world of the passengers and the world of the workers on the Ocean Liner. Mildred Douglas epitomizes aristocracy and opportunity while Yank signifies the under- privileged worker. ONiell shifts the scene from the brightly lit promenade deck where Mildred and her Aunt relax in beautiful sunshine in a great flood, the fresh sea wind blowing across it, to the stokehole where one hanging electric bulb shed just enough light through the murky air laden with coal dust to pile up masses of shadows everywhere. Indeed, the aim of New Historicism is to treat Literature as a participant in a dynamic, changeable culture. The potential for change becomes important, because it means that Literature has a role to play in the reformation of society. With its help, power bases can be restructured and the marginalized recognized (Dobie 182). Of course, the marginalized in The Hairy Ape are the low er-class people like Yank who are oppressed by a bloody capitalist (Scene Four) society. The Hairy Ape deals with modernization and the resulting deterioration of peoples lives. The effect of industrialization and technological development is negatively felt by both the laborers and the wealthy. For the former, industrialization has diminished the human worker to nothing more than an animal. There is no thinking involved in what they need to do. Thus, these workers are forced into jobs that need only physical labor and brute force. ONeill shows this basic decline of the worker into a Neanderthal (Scene One) or Ape-like state when the Firemen are shown to resemble Neanderthals. One of the oldest workers, Paddy, is described as extremely monkey-like. It seems that the more the Firemen work, the more they retreat on the human evolutionary path. For this reason, Yank shows an affinity with a real ape at the end of the play when he says: Me n you, huh? –bot members of dis club! (Scene 8). As for the wealthy class, they are described in the stage directions as a procession of gaudy marionettes, yet with something of the relentless horror of Frankensteins in their detached, mechanical unawareness (Scene Five). Such human degeneration is apparent when Mildred calls herself the waste product (Scene Two) of her fathers steel company. Although she enjoys the financial benefits of the company, she feels unfulfilled. For her, industrialization and technological advancements do little to boost her self-worth; ONeill describes Mildred as skinny, pale and wearing white, with an expression like looking as if the vitality of her stock had been sapped before she was conceived, the expression not of its life energy but merely of the artificialities that energy had won for itself in the spending (Scene Two). For ONeill, the poor have not advanced but rather have been pulled to a low, animalistic state, while the aristocrats have risen so high above nature they have become artificial beings. In Scene Five, we see class warfare being waged against her kind. Using 5th Avenue as a battle ground, Yank attempts to initiate this revolution against Mildred and the higher class. Here, ONeill seems to be using Long as a mouthpiece for Marxist views when he says: Were trespassers ere. Proletarians keep orf the grass! arskin Jesus to giveem more money I wants to convince yer she was ony a representative of er clarss. I wants to awaken yer bloody clarss consciousness. Then yerll see its er clarss yerve got to fight, not er alone (Scene Five). Long has divided Yank and Mildred into the proletariat and the upper classes. The proletariat is the lower, working class while the upper class is the aristocrats. Influenced by Karl Marx, the Socialist Party of the United States was formed in 1901. As industrialism swept Europe and the United States, many workers felt trapped in the capitalist system, in which they faced horrific working conditions, arbitrary wage cuts, and a sense that their lives were controlled by wealthy business owners (Danver 746). According to Steve Golden, in reading literature and history, Marxist theory focuses on economics and social class, and how those elements affect the balance of power in a text. Like Marxist theory, the new historicism also focuses on the exercise of power. However, new historicist critics prefer to examine social issues, marginalized groups, and institutions that wielded power (e. g. , the church) in the time period. From his biography, we know that ONeill befriended many radicals in the Communist Labor Party and he was, therefore, sympathetic to their cause. It seems that ONeill is blaming the upper, capitalist class for causing the industrial worker to spiral downwards. It is likely that ONeill was aware that many steel workers worked twelve hours a day, seven days a week, and lived in squalid housing (Norton 667). For these reasons, when his protagonist, Yank, deteriorates into a primitive, animal-like state, it is because the jobs created by steel companies treat men like animals: imprisoned by white steel (Scene One), they are caged and forced to work in unsafe conditions. Thus, when Yank says: he made disdis cage! Steel! IT dont belong, dats what! Cages, cells, locks, bolts, barsdats what it means! holdin me down wit him at de top! (S6), it symbolizes steel as an oppressive tool for a capitalist system. Indeed, technological changes had been widening the gap between employees and employers and an upsurge of dissent emerged from this gap (Norton 583). Nowhere is this dissent more vivid than when Yank learns about the Wobblies (Scene Six). He sees this workers union as a way to seek revenge against Mildred and aristocrats in general. Referred to as a tough gang (Scene Six), the I. W. W. as a powerful force when The Hairy Ape was written. In fact, O’Neill joined the Marine Transport Workers Union of IWW, which was fighting a kind of guerrilla war for livable conditions with quick on the job direct action (Wikipedia). Clearly, ONeill was influenced by their ideas to promote worker solidarity in the revolutionary struggle to overthrow the employing class (Wikipedia). Another influence over ONeill was Karl Marx who predicted that workers worldwide would become so discontented that they would revolt and seize factories, farms, banks, and transportation lines (Norton 583). However, the only revolution that ONeill presents to us is the one going on inside Yanks mind. In Scene Seven, he has become so disillusioned with life that he protests to the police officer that his only crime was being born: I was born, see? I was born, get me! But it seems that his only way for release is to die; by the end of the play, Yank sinks so deep in depression that he chooses to die by the one creature he is constantly compared toan ape. Throughout the play, ONeill ironically notes that Yank takes on the physical posture of Auguste Rodins sculpture, The Thinker. This statue is one of the most recognizable symbols of thought. By taking the posture of this statue in the play, Yank shows his inept attempts at thinking because he does not know what it means to truly think. The closest he can get to The Thinker is to physically imitate the cultural symbol. When the stage directions call for taking the position of The Thinker, Yank cannot understand the problems he faces. As h e struggles to tink, in Scene One, he begins to look like the thinking statue. However, the other men look at him half- amusedly, as if they saw a joke. But for Yank it is no joke when he hears from Paddy how she [Mildred] shriveled away with her hands over her eyes to shut out the sight of him twas as if shed seen a great hairy ape escaped from the Zoo! Moreover, ONeill is suggesting how Yanks job has not only reduced him to an animal but also to a non-thinking piece of metal: Im part of de engines! Its me makes it hot! Its me makes it roar! Its me makes it move! Im steelsteelsteel! Im de muscles in steel, de punch behind it! (Scene One). It is only after he clashes with upper society that he begins to realize his low position in life. Their two worlds clash when Mildred first sees Yank pounding on his chest, gorilla-like (Scene Three). Mildred calls him a filthy beast and he hurls his shovel after them at the door which has just closed. It hits the steel bulkhead with a clang and falls clattering on the steel floor (Scene Three). The falling steel corresponds to Yanks falling spirit and it foreshadows his falling into despair at the end of the play. Another episode that shows his poor thinking skills is when he is thrown out of the I. W. W. He fails to grasp what has happened or why the union would throw him out. Because Yank cannot figure out the situations before him, he is incapable of functioning in a modern society. Works do not exist in isolation from their historical and cultural environments. Without a doubt, Literature has a relevancy that takes it beyond the confines of art for arts sake. Literature is a powerful force that has far reaching implications to life in general. Thus, through our analysis of ONeills The Hairy Ape, the New Historicist approach is an excellent method for analyzing and appreciating this and any other literary work. By fusing biography, politics, ideology, culture, and history, this technique revives the play from a time long gone to reawaken our senses in order to enrich and illuminate our overall understanding and appreciation of the work. Works Cited Danver, Steven. ed. Revolts, Protests, Demonstrations, and Rebellions in American History. Vol I. Santa Barbara: ABC-CLIO, 2011. Eugene ONeill. Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. , 26 Feb. 2013. Web. 2 May. 2013. Golden, Steve. The Influence of Postmodernism, Part 4: New Historicism. Web. 2 May. 2013 Magill, Frank N. Ed. Mourning Becomes Electra. Masterpieces of American Literature. New York: Harpercollins, 1993. 321-325. Print. Norton, Mary Beth. et al. A People amp; a Nation. Boston: Houghton Mifflin, 2008. Print. ONeill, Eugene. The Hairy Ape. New York: Dover, 2005. Print. Weisstein, Ulrich. Ed. Expressionism As an International Literary Phenomenon. John Benjamins: Philadelphia, 2011. Print. Wobblies. Wikipedia: Th e Free Encyclopedia. Wikimedia Foundation, Inc. , 2 May. 2013. Web. 3 May. 2013.

Stop Seeking Certainty.. Minows Response To Bork Essays - Intention

"Stop Seeking Certainty.." Minow's Response To Bork Philosophy Of Law In considering the views of Robert Bork and Martha Minow, I am impressed more by Minow. I will compare their respective views and arguments in an effort to show why I prefer the arguments of Minow to those of Bork. First though it is necessary to have a brief overview of Bork's philosophy. Bork is a firm believer in the originalist mode of Constitutional interpretation. Many different scholars may have differing views as to the meaning of the word originalism. Here, it is intended to define "an.. approach to constitutional adjudication that accords binding authority to the text of the Constitution or the intentions of it's adopters" (Lyons, pp. 329). This view can be subdivided into two categories. Those categories are the intentional and textual originalist views. The intention-based originalists argue that the original intent of the framers can be discerned from a neutral reading of the Constitution and peripherally related documents. The problem here is that the framers, the adopters, the ratifiers, and the electors all had possibly separate intent and it would be difficult to know all of their intentions. According to this view, the Constitutional text merely provides clues as to the intent of the above mentioned groups. So peripheral documents, such as the Federalist papers, are important clarifiers of the original intent. The second subdivision of orginalism is called the textual orginialist view. This view argues that the actual text of the Constitution is what is most important in terms of understanding Constitutional intent. Bork began as an intention theorist, then later changed and came to adopt the textual originalist view point. Neither subdivision of the view of orginalism is very popular today, as is evidenced by the fact that Bork was not confirmed by the Congress when he was nominated for the Supreme Court. Bork argues that by reading the text, and figuring out what the public understanding of the Constitution was at the time of it's writing, we can discern what the Constitution actually means. The problem here is obvious. It is very difficult to know what the public understanding at the time of the enactment of the Constitution was. It is even difficult to know if there was in fact a public understanding at all. It seems possible that there did not exist a public awareness of all of the facets of the Constitution. Bork argues that new Amendments to the Constitution are appropriate and permissible, that these are simply additions of new original ideas. However, he is opposed to constitutional "revisionism" of any kind. Here the term revisionism is intended to mean any reauthoring of constitutional principles by any governmental body other than the legislature. I think that Bork was specifically leery of the judiciary performing revisionist acts. He seemed to be more leery of a Judiciary branch performing "revisionism" than he was of the executive branch performing such acts. Bork said "The theory [of Constitutional interpretation] must therefore enable us to say what is the limit of the judge's legitimate authority..." (Bork. pp.54). Bork argues for a kind of enforced judicial restraint. Here, when I use the phrase "judicial restraint", I mean a strict adherence to precedents, the effects of which are so ingrained in our society as to make overturning them destructive to the fabric of our society at large. Bork goes on to argue for the importance of the neutrality principle as it relates to constitutional interpretation. According to Bork, a judge should make a decision based only on an original intent understanding of a given law in a given case. No personal pr eferences should come into play. Instead, legal principles should be applied equally across all cases which those principles encompass. It is Bork's assertion that his philosophy of original understanding can supply neutrality in deriving, defining and applying any legal principle. (Bork, pp. 53) So, on to the distinctions between deriving, defining and applying. On the issue of derivation, Bork argues that via his philosophical view of original intent, it is possible to derive the meaning of any given Constitutional principle and that if any given situation is not covered by the Constitution, that situation is beyond the scope of the power and scope of the Courts jurisdiction, and thereby leaves the court "quite properly powerless.." (Bork pp.53). On the issue of defining a principle, Bork argues again that this is quite possible within his framework and that all judges need to do in order define the breadth of a given principle is to take a historical look at the events a given principle concerned itself with at the time of the principles