Social psychology is a specific branch of psychology that employs a number of different theoretical perspectives in order to focus on the social nature of individuals within society (Augoustinos, Walker, and Donaghue 2014). Two examples of such perspectives that help do this are Social cognition and discursive psychology. This essay will critically assess both perspectives by both comparing and contrasting them in order to gain a better insight into their impact on social psychology. Social cognition
Icarus and the Myth of Deconstruction In all three texts, it is the act of analysis which seems to occupy the center of the discursive stage, and the act of analysis of the act of analysis which in some way disrupts that centrality. In the resulting asymmetrical, abyssal structure, no analysis -- including this one -- can intervene without transforming and repeating other elements in the sequence, which is not a stable sequence. Barbara Johnson "The Frame of Reference" The Critical Difference 1
Stable Meaning, the Perversion of Nature, and Discursive Communities in Alex La Guma's "The Lemon Orchard" South African writer Alex La Guma was an active member of his country's non-white liberation movement. One of the 156 people accused in the Treason Trial of 1956, La Guma wrote his first book, A Walk in the Night and Other Stories, in 1962 (Wade 15). "The Lemon Orchard," a story which appeared in this debut work, is a gripping piece about the horror and cruelty of racism. In the story, La Guma
vitality. Differently stated, nature functions as a cultural construct of anti-culture, providing an escape from the confines of culture in the sense of civilization, but does not entirely evade the conceptual framework inherent to the social, discursive formation of human ideas. This intermingling relationship between nature and culture is well illustrated in the example of urban parks. Parks are constructed as natural environments but literally and figuratively constructed by human cultural
philosophical traditions, particularly in connection with the Buddhist concept of emptiness and void and the original Daoist answers to the problem. Methodological problems are mentioned and two ways of approaching the theme are proposed: the logically discursive and the meditative mystical one, with the two symbols of each, Uroboros and the open circle. The switch of consciousness is suggested as an essential condition for liberation of the Ego and its illusions. Rational logic as well as the sophisticated
Buffy Studies, http://www.slayage.tv/essays/vint.html, accessed 15/4/2002, 9.05 am. Whedon, Joss, Audio Commentary: Buffy the Vampire Slayer, Season One, Welcome to the Hellmouth & The Harvest DVD, 2001. Wilkinson, Sue ed., Feminist Social Psychologies: International Perspectives, Open Universities Press, Buckingham, 1996. Filmography: Smith, Charles Martin, Welcome to the Hellmouth, Buffy the Vampire Slayer, Episode 1.1, 1997. Kretchmer, John T., The Harvest, Buffy the Vampire Slayer
different perspectives and therefore, has many different meanings and contexts. While quantitative researchers work mostly with numerical data, qualitative researchers use mainly "non-numerical data such as observations, interviews, and other more discursive sources of information" (Gay & Airasian, 1999). Another difference between the two types of research is that where quantitative research seeks to find evidence which supports or does not support an existing hypothesis, "qualitative designs allow
(thus, real) but absent (or buried), and which makes the dominant "reality" possible but, at the same time, continuously undermines it. In The Way to Rainy Mountain, the patterned form brings about the two different realities: first, there is a discursive, or ideological reality, which separates legend from history and the personal from the cultural; second, there is a lived-way-of reality, in which legend, history, and the personal experience can never be separated. Along the journey to the
power as a positive influence that is produced in communicative space runs contrary to Habermas’ original concept of power in his theory of communicative action where power is understood as a coercive force that has to be avoided in order for the discursive situation to prevail. As such, I believe that the introduction of communicative power and its close tie to ‘legitimate law’ and political system greatly reduces our critical ability with respect to political systems as exercised in liberal-democratic
seek out, and investigate his wife and her ailments, which consequently permits him to deploy seemingly inexhaustible (medical, scientific) means for (re)formulating and (re)presenting the hysteric female--not only for the purpose of giving her discursive representation, but in order to "de-mystify" her mystery and reassure himself that she is, finally, calculable, harmless, and non-threatening. To speak of John in psychoanalytic terms, his preoccupation with his wife, her body, and her confinement
Interpretations of Beowulf ‘s theme vary widely. Ian Duncan in “Epitaphs for Aeglaecan: Narrative Strife in Beowulf” states his interpretation for the main theme in the poem: Arguments for any interpretation of Beowulf have therefore described discursive configurations within the poem which have then been projected outside it to map, explicitly or otherwise, such a context of tradition, genre, ethos, Weltanschauung. The trouble is that the less aware the critic that this is his procedure, the more
In this assignment, I will be conducting a Sociological analysis of a piece of naturally occurring interaction between two people. I will complete this by doing a transcription the piece of interaction using the work of Harvey Sacks and his work on conversation analysis. For this the piece of interaction I have used is that off a radio station. This involves George Galloway hosting his programme on Talk Sport and having a debate with a male who phones into the show. For this piece of interaction
with her and their child. It is Dimmesdale who uses his rhetorical mastery to talk Hester into talking him into eloping. An analysis of his conversation with Hester in the forest in comparison with his sermons shows that he is using the same discursive strategy he employs to convince his parishioners that he is a sinless man. The Reverend Mister Arthur Dimmesdale is usually understood to be guilty of two sins, one of commission (his adultery with Hester) and one of omission (his
lesbian is rendered monstrous in social discourse by her desire to ascend into the phallic privilege, connecting this in-between-ness as both a monstrous trait and a cybernetic one. Further, the transgender man (female-to-male) occupies a similar discursive space and provides us with a post-modern link to Frankenstein's creature, as both are surgically constructed men, a construction that, in the eyes of society, renders them monstrous (particularly for trans-men who can't pass). Frankenstein's creature
strength while lying buried beneath the denotative surface of the poem. From the start, we suspect that the speaker has more sympathy than he admits for whatever it is "that doesn't love a wall." Frost establishes at the outset his speaker's discursive indirection. He combines the indefinite pronoun "something" with the loose expletive construction "there is" to evoke a ruminative vagueness even before raising the central subject of walls. A more straightforward character (like the Yankee farmer)
theological paraphrase of its argument, to explicating the system of belief or thought behind the words. Meanwhile, relatively little attention has been paid to the working of the poetry itself, to the construction of the presumed meaning, in these "discursive" or "conceptual" passages. Seduced by the desire for a systematic argument, criticism has overestimated these passages' straightforwardness and largely neglected their ambiguity and indeterminacy. The seductive voice of argument – which is already
centres of interest: the re-education through suffering of Mr. Gradgrind, the exposure of Bounderby, the life and death of Stephen Blackpool, and the story of Sissy Jupe. There are present, in other words, all the potentialities of an expansive, discursive novel in the full Dickens manner. But they are not and could not be realised because of the limitation of length Dickens imposed upon himself. The novel was written as a weekly serial story to run through five months of his magazine, Household Words
from all colonial taint" (95). This hope is idealistic, especially when evaluating the role that the English language plays in the lives of those who are colonized. Tiffin realizes this fact and views most post-colonial literature as a "counter-discursive" mode of expression that is highly involved in "challenging the notion of literary universality" (96). The most interesting challenge raised by this European universality is the fact that many post-colonial authors use English as the means
Music, Truth, Profundity PART I 1. Theme One of my long-standing philosophical ‘worries’ is what I describe as a ‘cognitive dilemma’ in relation to musical communication. How can an art form which lacks a discursive element and addresses itself primarily and indeed immediately to the auditory sense, be discerned as conveying ‘truth’ or ‘profundity’? The power is amply attested — so much so that alone among the arts music occasionally figures as a ‘surrogate religion’. The pieces of this
Analysis of Birches The discursive blank-verse meditation "Birches" does not center on a continuously encountered and revealing nature scene; rather, it builds a mosaic of thoughts from fragments of memory and fantasy. Its vividness and genial, bittersweet speculation help make it one of Frost's most popular poems, and because its shifts of metaphor and tone invite varying interpretation it has also received much critical discussion, not always admiring. The poem moves back and forth between