Primary Theoretical Frameworks For Discussing Intimate Partner Violence Criminology Essay

Primary Theoretical Frameworks For Discussing Intimate Partner Violence Criminology Essay Select (highlight) this text and then begin typing your abstract, which should be limited to one paragraph of not more than 120 words Discuss the primary theoretical frameworks-feminist, psychological (including biological hypotheses), or sociological-for understanding intimate partner violence and how each perspective might influence the development of intervention with perpetrators, or counseling with victims? Use examples from the readings to demonstrate the relationship between theory and practice. AND TYPE HEADING] Intimate partner violence is a multi-causal, multifaceted phenomenon and no single theoretical approach has proven sufficient in adequately explaining it. Fortunately, the field of intimate partner violence research has evolved to a point where now the interactive nature of the various relevant factors may be considered. Studies have identified possible determinants of intimate partner violence. Several of these possible causes are salient across diverse cultural and social contexts. Still theories to give reasons for intimate partner violence remain relatively limited. This regrettable lack of a theoretical perspective could possibly limit efforts to better understand intimate partner violence and to develop an effective and sustainable intervention with the perpetrators. This lack of perspective is particularly disconcerting at the level of primary prevention. This writer will examine the principal theoretical frameworks that constitute intimate partner violence. Feminist theories of violence against women tend to place much emphasis on the societal structures of gender-based inequality. The feminist framework argues that as the predominant social class, men have differential access to material and symbolic resources. Women, conversely are devalued as secondary and inferior (Bograd, 1988). As a consequence, womens experiences are often defined as inferior as a result of male domination, a trait that femininist argue influences all aspects of life. The violence, rather than being an individual psychological problem, is instead an expression of male domination of females. Violence against women, in the feminist view, includes a variety of control tactics meant to control women. Much feminist research is based on the premise that gender inequality is the source of violence against women, and that the social institutions of marriage and family are special contexts that may promote, maintain, and even support mens use of physical force against women.   Researchers in this tradition tend to rely heavily on qualitative interviews for data; and most of them have reached the conclusion that violent men are more likely to adhere to an ideology of familial patriarchy (Dobash and Dobash 1979). Gender analysis tackles the belief system that convinces male perpetrators that they have a right to control women in intimate relationships. Failure to address this belief system means that men may simply switch from physical to emotional abuse, and women and children will continue to live in fear. The contributions of psychology to violence in the intimate relationship have received much attention. The majority of research on the topic of intimate partner violence centers on personality disorders and early experiences that will increase the risk of future violent behavior (Buzawa, 2003). Although psychologists have long investigated the factors that predispose one to violence, an individual personality trait has not been found that influences someone to domestic partner violence. perpetrators do not share a set of personality characteristics or a psychiatric diagnosis that distinguishes them from people who are not abusive (Buzawa, 2003). There are some perpetrators who suffer from psychiatric problems, such as depression, post-traumatic stress disorder, or psychopathology. Yet, most do not have psychiatric illnesses, and caution is advised in attributing mental illness as a root cause of domestic violence.   On the contrary, there exists a complicated combination of factors that predispose an individual to violent behavior (Buzawa, 2003). The psychological framework extends these factors onto the influence of children growing up within a combination of these external forces.   Usually, men who batter are seeking a sense of power and control over their partners or their own lives, or because they are tremendously dependent on the woman and are threatened by any moves on her part towards independence. Some men batter because thats the only way they know how to be close to or relate to a partner. Some men grew up in violent households, where they watched their mothers abused by their fathers and where they themselves were abused. Some men become violent under the influence of drugs or alcohol, although the substances themselves do not cause the violence. Many psychological approaches view violence as a learned behavior that can be unlearned as apposed to a consequence of individual pathology, stress, or alcohol abuse. In order to institute an effective intervention, individuals must be able to confront their anger without resulting to violent interactions. According to Buzawa Buzawa (2003), a major conflict is that batterers have yet to develop alternative strategies to control their anger. They contend that batterers generally are less capable or adapt to at argumentative self expression (p.34). One compelling premise is that violence in men is not only natural, but an essential trait that was developed through an evolutionary process. As argued by Dobash Dobash (1998), Men have a greater propensity for violence than women. They further maintain that violence is embedded in male physicality, culture and experience (Dobash, 1998). To further extend this argument, Buzawa Buzawa (2003) contend that, It has been empirically established that although both genders commit acts of domestic violence, men commit far more serious violence than do women(p.39). Research on the historical and biochemical links to aggression has considered other pathways, one of which is evolutionary. Daly Wilson (1998) maintain that, violent capabilities and inclinations arose in our male ancestors in response to the demands of male on male competition (Dabash,p.200). Further, Newborn Stanko (1994) maintain that young men learn to do violence and within some cultural expressions it plays an important role in their social place and personal identity (p.165). The question arises, if there is in fact an inherent basis for violence, can there also be a biochemical basis for violence toward women? Domestic violence was found to be all-pervasive among all women but varying in volume and frequency across class, age and education level. As stated by Jewkes, (2002), Womens susceptibility to intimate partner violence has been shown to be greatest in societies where the use of violence in many situations is a socially accepted norm (p.359). Thus family violence will take place more often in violent societies.   With this in mind, it is not uncommon to see more cases of domestic violence reported in communities plagued with violence such as underprivileged inner cities. As stated by Buzawa Buzawa (2003), although domestic violence is present in all social strata and ethnic groups, it is disproportionately concentrated in population subgroups that are stressed with poverty (p.40). Some subcultures develop norms that permit the use of physical violence to a greater degree than the dominant culture. For instance, if a particular community has a significantly high violent crime rate, than it is to be expected that violence will in some way manifest in the home. Often, people in these economically depraved communities develop peer relationships that promote male dominance in the community as well as the use of violence to support a culture of violence against women. Ultimately, domestic violence is a complicated interplay of social, genetic, and environmental factors. Male violence against women in intimate relationships is a social problem condoned and supported by the customs and traditions of a particular society.

History of Art Essay

Discuss the evolution of the idea of beauty through the history of art. The idea of beauty, the perfect human body, is a result of culture: religious functions, advertisements, economy, and other factors. The definition of beauty is not an inherent concept, since every age, place and social class formed its own ideal of it. This evolution of beauty is shown explicitly through the history of art. Art, in different periods, was influenced mainly by history and religion. I will discuss this transition from the Middle Ages to Renaissance, from Impressionism to Expressionism and later Cubism. I will discuss artworks by various artists such as Giotto, Botticelli, Michelangelo, Degas and Picasso. I will analyze the way they depicted their ideas of beauty, compare and contrast the concepts the artists used to transmit their ideas. Giotto Di Bondone (1266/7 – 1337) was an Italian painter and architect from Florence in the late Middle Ages. In the transitional period between Internation al Gothic and Renaissance, Giotto was among the first to make use of proportions to represent human figures. He worked on perspective and rounded sculptural forms that appear to have been based on living models rather than on idealized conventional human figure. Giotto rejected the long, elegant lines of the Byzantine style and went for a more realistic representation. He based his works on the real rather than the divine and idealistic. Painted in 1300 for the Church of San Francesco in Pisa, The Stigmatization of St. Francis illustrates stories from the life of the saint, who was a particular inspiration to Giotto. In this signed panel, Giotto uses the realistic human form, space, colour, gesture and placement of figures to tell the story in a new, human-like way. It remained for Masaccio (1401 – 1428), a century later, to expand upon Giotto’s monumental style. Masaccio applied mathematical laws in his paintings and created an illusion of space and distance. Masaccio was and still is considered a genius and is best known for the fresco of The Holy Trinity with the Virgin and St. John (1425 – Santa Maria Novella, Florence), the first successful depiction in painting of the new concept of Renaissance space. When he joined atmospheric perspective with linear perspective later that century, a greater illusion of reality was achieved. Also, his figures show weight mainly by use of drapery folds. In the peak of Renaissance, Botticelli (1445 – 1510) was one of the most prominent artists of the time, with Birth of Venus (1486 – Uffizi Gallery), being arguably one of his most famous works. It is also one of the most treasured works of the Renaissance period. In it, Venus (the Roman goddess of love, beauty, sex, fertility, prosperity and victory – Known as Aphrodite in Greek mythology), one can see the graceful way Botticelli composed the goddess. Venus is illustrated as an immaculate, pure being. Also, her nude depiction is significant in itself. At that time, were almost all paintings were based on Christianity, Botticelli was almost considered as revolutionary, as nude women were hardly ever portrayed. Furthermore, Botticelli portrayed figures having steep shoulders and long hands as he wanted to idealise the human figure. In 1492, Michelangelo undertook the study of anatomy based on the dissection of corpses. In the time of high Renaissance, Michelangelo used different methods to portray figures. As a result of his intense study of the human body, he depicted figures with extreme details, and enlargement of the muscles and tissues. This technique can be noticed through his works such as David (1500-1504), found in Accademia di Belle Arti in Florence. In the 19th century, art took a different course. This was the way towards what we call Modern art. In the 1870s, Impressionism was at its peak. Impressionists no longer focused mainly on beauty but rather preferred to focus on the nature of light. Impressionism is a style that seeks to capture a feeling or experience rather than to achieve accurate depiction. Edgar Degas (1834 – 1917) was an Impressionist who’s known for his artworks involving nudity. It is interesting that in his artworks he never seeks to make the subject identifiable. Instead he often portrays them from their backside and as they engaged in daily tasks, such as The Bathers. Later in history, a new art movement arose – Expressionism. After the horror of the First World War only practicability is important. The difference between the sexes vanishes for the first time in art history. Curves are no longer an ideal. Expressionists focused mainly on getting their message across by means of colour and distortions. This is why artworks from this period are misshaped and altered, rather than focusing on realism and beauty. Expressionism is a very explicit example of art being used as means of communication. Many consider art from the 20th century to be revolutionary, with Cubism being the result of this. Cubism was an innovative movement and was very influential to the art produced later. Being a pioneer of cubism, Pablo Picasso was criticized and his works led to controversy. Cubism involved the use of geometric shapes and this can be seen from one of Picasso’s works, Les Demoiselles d’Avignon. Picasso was very influenced by the social situation at that time, were prostitution, sickness and instability were amongst the flaws of society. That is why he chose to portray the women with deformed figures, some of them even with African-like masks. Through this brief analysis of the story of art, one can see how each period portrayed beauty in different ways. It all, mainly, depended on the social situation, economy and religion at that point in time. It is clear how the conventional idea of beauty lost its control over art as we approach the present. Also, the realism and detail used in earlier stages, was almost irrelevant in more modern times. One should appreciate how art evolves according to the time and the people producing it, and how powerful it really is for the observer.

Dickens’ books Essay

As his name implies, Pip’s progress through Great Expectations is also one of growth, especially in regards to morality. Yet he too does not evolve without attaining scars. His burns, for instance, after ‘saving Miss Havisham from the fire that engulfs her dress can at once seen as a consequence of a noble action, but also a result of a desire to punish a world that has mistreated him. He professes to Miss Havisham from a newly acquired self-knowing level that he could never be bitter with her, and we could easily believe that he has learnt how to perceive others with an understanding eye. However, one must not forget that the ignorance his life has been clouded in may also have embittered him, and rightly so. As a result the fire could at once be seen as Pip’s repressed want or desire for revenge – for vengeance. As he struggles with her on the floor we perceive that these are not the actions of a man who has a refined heart, but a man who has repressed disappointment and pain. He holds her down ‘like a prisoner, who might escape’ and even looses consciousness of who she is or what he is doing. Throughout the novel Pip has to work through this suppressed unconscious, and is never magically delivered to a higher state of morality or refined sentiment. As a child he laments that he had had ‘no intercourse with the world’ and was ‘quite [the] untaught genius’ that had to make ‘the discovery of the line of action for himself’. High morality and refined sentiment are not flat character traits held only by perfect people. They are difficult to attain, and more importantly to abide by, and what makes Pip an exceptional character is that he is not infallible. As a result one must pay attention to the narrator, described as Dickens’ most ‘complex and subtle’16, who is still very much haunted by his past that has helped mould and destroy him. He almost attempts to see himself in a better light that he probably was when he was younger. In fact the ‘profoundest irony of the novel is not reached until the reader realises he must see Pip in a much harsher moral perspective than Pip ever saw himself’.17 As one must remember the episode when Magwitch took the blame for stealing the food – Pip avoids telling the truth. The narrator hopes that this avoidance ‘had some dregs of good at the bottom of it’, thus the child’s motivations are clouded by the older, wiser, almost shamed narrator’s desires to fill the younger Pip’s moral lapses. The latter is certainly not innocent, and is always battling with that ‘inner self [that] was not easily composed’, and such a battle that signifies that he was not born with goodness, is difficult for the narrator to acknowledge. The reader feels pity for Pip but in the same breath Pip abandons the reader as quickly as he abandons Joe. When removing your own sentimental romantising of the youngster, the reading of his character shifts. The narrator is guilty of, if only to a minor degree, manipulating his harsh social relations, ignorance and want to make him look the greater victim. In fact the idea that the older Mr Pip has anymore quietened that inner self, are continually thrown into dispute. He still complains, even when Herbert and Clara had actually opened their arms to him, and allowed him to live with them, that it ‘must not [be left] to be supposed that we were ever a great house, or that we made mints of money. We were not in a grand way of business, but we had a good name, and worked for our profits, and did very well’. He still cannot recognise and respond to the good grace of others. He suggests that what his life has become is a mere second best to what it could have been. That he still secretly hankers for those ‘mints of money’ is regrettably clear. What he appears to be saying is that he merely exists, not living. In many ways Pip is the antithesis of a hero – an anti-hero. He never really reaches high morality or refined sentiment, despite his progress towards them. As a result Great Expectations tears the reader away from the optimism, and that ‘miserable fallacy’ of Dickens’ earlier novels, particularly as the hero can still agonizingly be ignorant of the true value of things. This pull away from optimism however produces realism in Pip. He embodies all the taboo complications of a true person, and as Chesterton argues this includes the, albeit natural human desire to do what is wrong.18 He causes Trabb’s boy to loose his job, and Orlick, and hurts, however unintentionally Biddy and Joe. He is constantly repressing emotions, which ultimately re-emerge as haunting images, such Miss Havisham hanging in the barn, leaving him ‘shuddering from head to foot’. However, in many ways Dickens avoids confronting Pip’s darker side by projecting it onto an outside character- Orlick. The repressed anger within Pip is allowed an outlet in the actions of this stock-villain. For instance he is responsible for the injuring and eventual death of Mrs Joe, which is after-all no great loss to Pip who has more than once suffered under the ‘Tickler’. As a result Orlick plays out the moral lessons or moral consequences that Pip never has to undergo. Orlick suffers the rebuke of Biddy, one wonders whether it should not have been Pip, and he suffers in a fight with Joe, and again should this have not been with Pip? When lured to the limekiln, Orlick poignantly blames Pip for the felling of Mrs Joe. ‘You done it; now you pays for it’, he exclaims, almost as if he realises that he is playing the part of scapegoat, carrying out the many actions that Pip more than likely has fantasised about himself. Pip can at least play the role of victim, as long as there are characters such as Orlick who are willing to take his mirror image role as avenger. Great Expectations is one of the most colourful and at the same time painful novels ever written, ultimately a ‘grotesque tragic-comic experience’.19 It draws of a wealth of characters, yet the considerable thing about the novel is that unlike his earlier work, Dickens does not admit any miraculous transformations at the end. There is no suggestion that anyone has survived their past completely unscathed, from Pip’s burns, to the washing of Mr Jagger’s hands, and no-one is given the privileged place of being magically delivered into the heaven of ‘high morality’ and ‘refined sentiment’. The defining of goodness, ultimately high morality and refined sentiment, has come a long way since Dickens earlier novels. It is a novel in which he is no longer ‘willing or able to make the straight satiric indictment which governs†¦morality’. As a result many of his characters are a tragic mixture, and as Sadrin suggested it is the ‘Dickens myth’ raised to the surface, laid upon the table, dissected and criticised’.21 Despite the Oliver Twist beginning, we meet numerous characters who engage in a series of ontological struggles – Wemmick being the only character to have avoided such by adopting ‘Walworth sentiments’ that exist in an entirely personal world where the self can never forget who they really are. For the reader nevertheless, as well as many for many of the characters, of ‘all [Dickens’] books [that] might be called Great Expectations [and where that ‘miserable fallacy’ was mostly likely to lurk]†¦the only book†¦he gave the name†¦was the only book in which the expectation was never realised’22

Dickens’ books Essay

As his name implies, Pip’s progress through Great Expectations is also one of growth, especially in regards to morality. Yet he too does not evolve without attaining scars. His burns, for instance, after ‘saving Miss Havisham from the fire that engulfs her dress can at once seen as a consequence of a noble action, but also a result of a desire to punish a world that has mistreated him. He professes to Miss Havisham from a newly acquired self-knowing level that he could never be bitter with her, and we could easily believe that he has learnt how to perceive others with an understanding eye. However, one must not forget that the ignorance his life has been clouded in may also have embittered him, and rightly so. As a result the fire could at once be seen as Pip’s repressed want or desire for revenge – for vengeance. As he struggles with her on the floor we perceive that these are not the actions of a man who has a refined heart, but a man who has repressed disappointment and pain. He holds her down ‘like a prisoner, who might escape’ and even looses consciousness of who she is or what he is doing. Throughout the novel Pip has to work through this suppressed unconscious, and is never magically delivered to a higher state of morality or refined sentiment. As a child he laments that he had had ‘no intercourse with the world’ and was ‘quite [the] untaught genius’ that had to make ‘the discovery of the line of action for himself’. High morality and refined sentiment are not flat character traits held only by perfect people. They are difficult to attain, and more importantly to abide by, and what makes Pip an exceptional character is that he is not infallible. As a result one must pay attention to the narrator, described as Dickens’ most ‘complex and subtle’16, who is still very much haunted by his past that has helped mould and destroy him. He almost attempts to see himself in a better light that he probably was when he was younger. In fact the ‘profoundest irony of the novel is not reached until the reader realises he must see Pip in a much harsher moral perspective than Pip ever saw himself’.17 As one must remember the episode when Magwitch took the blame for stealing the food – Pip avoids telling the truth. The narrator hopes that this avoidance ‘had some dregs of good at the bottom of it’, thus the child’s motivations are clouded by the older, wiser, almost shamed narrator’s desires to fill the younger Pip’s moral lapses. The latter is certainly not innocent, and is always battling with that ‘inner self [that] was not easily composed’, and such a battle that signifies that he was not born with goodness, is difficult for the narrator to acknowledge. The reader feels pity for Pip but in the same breath Pip abandons the reader as quickly as he abandons Joe. When removing your own sentimental romantising of the youngster, the reading of his character shifts. The narrator is guilty of, if only to a minor degree, manipulating his harsh social relations, ignorance and want to make him look the greater victim. In fact the idea that the older Mr Pip has anymore quietened that inner self, are continually thrown into dispute. He still complains, even when Herbert and Clara had actually opened their arms to him, and allowed him to live with them, that it ‘must not [be left] to be supposed that we were ever a great house, or that we made mints of money. We were not in a grand way of business, but we had a good name, and worked for our profits, and did very well’. He still cannot recognise and respond to the good grace of others. He suggests that what his life has become is a mere second best to what it could have been. That he still secretly hankers for those ‘mints of money’ is regrettably clear. What he appears to be saying is that he merely exists, not living. In many ways Pip is the antithesis of a hero – an anti-hero. He never really reaches high morality or refined sentiment, despite his progress towards them. As a result Great Expectations tears the reader away from the optimism, and that ‘miserable fallacy’ of Dickens’ earlier novels, particularly as the hero can still agonizingly be ignorant of the true value of things. This pull away from optimism however produces realism in Pip. He embodies all the taboo complications of a true person, and as Chesterton argues this includes the, albeit natural human desire to do what is wrong.18 He causes Trabb’s boy to loose his job, and Orlick, and hurts, however unintentionally Biddy and Joe. He is constantly repressing emotions, which ultimately re-emerge as haunting images, such Miss Havisham hanging in the barn, leaving him ‘shuddering from head to foot’. However, in many ways Dickens avoids confronting Pip’s darker side by projecting it onto an outside character- Orlick. The repressed anger within Pip is allowed an outlet in the actions of this stock-villain. For instance he is responsible for the injuring and eventual death of Mrs Joe, which is after-all no great loss to Pip who has more than once suffered under the ‘Tickler’. As a result Orlick plays out the moral lessons or moral consequences that Pip never has to undergo. Orlick suffers the rebuke of Biddy, one wonders whether it should not have been Pip, and he suffers in a fight with Joe, and again should this have not been with Pip? When lured to the limekiln, Orlick poignantly blames Pip for the felling of Mrs Joe. ‘You done it; now you pays for it’, he exclaims, almost as if he realises that he is playing the part of scapegoat, carrying out the many actions that Pip more than likely has fantasised about himself. Pip can at least play the role of victim, as long as there are characters such as Orlick who are willing to take his mirror image role as avenger. Great Expectations is one of the most colourful and at the same time painful novels ever written, ultimately a ‘grotesque tragic-comic experience’.19 It draws of a wealth of characters, yet the considerable thing about the novel is that unlike his earlier work, Dickens does not admit any miraculous transformations at the end. There is no suggestion that anyone has survived their past completely unscathed, from Pip’s burns, to the washing of Mr Jagger’s hands, and no-one is given the privileged place of being magically delivered into the heaven of ‘high morality’ and ‘refined sentiment’. The defining of goodness, ultimately high morality and refined sentiment, has come a long way since Dickens earlier novels. It is a novel in which he is no longer ‘willing or able to make the straight satiric indictment which governs†¦morality’. As a result many of his characters are a tragic mixture, and as Sadrin suggested it is the ‘Dickens myth’ raised to the surface, laid upon the table, dissected and criticised’.21 Despite the Oliver Twist beginning, we meet numerous characters who engage in a series of ontological struggles – Wemmick being the only character to have avoided such by adopting ‘Walworth sentiments’ that exist in an entirely personal world where the self can never forget who they really are. For the reader nevertheless, as well as many for many of the characters, of ‘all [Dickens’] books [that] might be called Great Expectations [and where that ‘miserable fallacy’ was mostly likely to lurk]†¦the only book†¦he gave the name†¦was the only book in which the expectation was never realised’22

Personal Public Health Leadership Theory Free Essay Example, 5250 words

The research on leadership began with an aim of determining the attributes of leaders, and how these are different from non-leaders. Today, various literature exist in various disciplines on the topic of leadership. The theoretical gaps in the various works of literature in this literature review point to a major problem. This problem involves leadership literature in the public health sector, where unlike other disciplines and sectors, the public health sector continues to witness fewer research activities that focus on leadership. Consequently, there is insufficient literature on the topic of leadership in the public sector. This, therefore, has led to a narrow knowledge base on leadership in the public health sector. The practitioners in the public health organizations are seldom trained in leadership, yet some of their responsibilities require leadership training. Hence, leadership has been accorded less importance in the public health sector. This, therefore, remains a major pr oblem that if not well addressed, might bear grave adverse effects on the public sector in future. The stated problem has implications for positive social change. The public health sector needs to experience changes with regard to its aspects of social behavior as well as institutions. We will write a custom essay sample on Personal Public Health Leadership Theory or any topic specifically for you Only $17.96 $11.86/page