Youth Violence A Growing Issue Of The United States

Parenting Matters Youth violence has become a growing issue in the United States. According to the U.S. Secret Service, â€Å"in the previous decade, the odds of a high school student being injured or threatened with a weapon were about 1 in 14, and the odds of a teen being in a physical fight were 1 in 7† (Youth Violence Statistics 18). Statistics has also proven that youth violence and bullying within school environment intensified in recent years and has remained high. Indeed, youth themselves are the group allegedly affected by youth violence; however, they are not the only one. For instance, youth violence influences communities and the country as a whole by increasing the cost of health care, interfering social services, and curtailing†¦show more content†¦Authoritarian parents have low involvement and high demand on their children. They are extremely harsh and require their children to submit to their commands and surveillance with little or no communication. C hildren with these type of parents are not given room to discuss with their parents. They are to comply to their parents with unquestionable respect, and great levels of achievement are anticipated at all times. The result of defying the commands is merciless punishment, which can include yelling and hitting. This parenting style physically and mentally raises a child as a bully. Reared by authoritarian parents, children feel powerless and weakened at home. Consequently, they may want to â€Å"displace† their impulses and frustrations outside by practicing violence to their peers. Instead of showing anger towards their authoritarian parents, where it could possibly result in unfavorable results (such as spanking), it is reasonable that children express their anger on their peers that poses no threat. In fact, violence is already prevalent in the authoritarian household. Psychologist Albert Bandura’s observational learning theory claims that children constantly learn s imply by observing others in the environment and further imitating the behaviors they observed. In other words, a child may learn to smoke, slap, swear, and perform other undesirable behavior through improper modeling. Parents are the first

Similarity and Coyote Free Essays

Martinez, Jose Per. 2 9-14-12 â€Å"Coyote and the Buffalo† and â€Å"Fox and Coyote and Whale† are both trickster tales in the Native American culture. These trickster tales do share similarities; however they do share a difference as well. We will write a custom essay sample on Similarity and Coyote or any similar topic only for you Order Now The similarities between these two trickster tales is that they explain why the world is how it is, and they present morale teachings, but the difference in these is how Coyote is portrayed in the trickster tales. One similarity that these two trickster tales have is that they explain why the world is how it is. For example in â€Å"Coyote and the Buffalo† Coyote kills the young cow that was given to him by Buffalo Bull as food, then he goes to Buffalo Bull to ask for another one, but the young cow that Coyote had killed has returned from the dead and refuses to go with him and Buffalo Bull also denies him another one. This explains why there are no buffalo in the Kettle Falls on the Columbia River, all because of Coyote. In â€Å"Fox and Coyote and Whale† Fox and Coyote go after Fox’s wife who was kidnapped by Whale. After Fox and Coyote rescue her, Fox cuts off Whale’s head and tosses it into the ocean and that is why whales don’t live in the rivers and Whale could no longer make love to the wives of other men. The trickster tale also explains why Land People and Water people don’t love each other because Fox killed Whale. Another similarity between these two trickster tales is the moral teachings. The moral teaching in â€Å"Coyote and the Buffalo† is to not be greedy. An example would be when Coyote killed the young cow for more food because he was tired of eating the fat of the young cow and as a result he gets the remains of the young cow stolen and is soon left with nothing. In â€Å"Fox and Coyote and Whale† the moral is to be helpful and selfless. An example would be when Fox and Coyote set on a quest to rescue Fox’s wife from Whale. In the end Fox ends up getting his wife back because Coyote was selfless and helpful. The difference is how Coyote is portrayed in these trickster tales. In â€Å"Coyote and the Buffalo† Coyote can be seen as a coward because when he his in a tree with Buffalo Bull on the ground trying to knock the tree down and trying to kill him Coyote bargains with Buffalo Bull that if he spares his life he will make him new horns. However, in â€Å"Fox and Coyote and Whale† Coyote can be seen as a hero. He helps his brother, Fox, rescue his wife. In the first trickster tale he is seen as someone who only helps himself unlike in the second one he is seen as someone who helps his brother. In conclusion, both of these tales are similar, but they do have at least one difference. What they have in common can be seen in how they explain why the world is the way it is and moral teachings. They do, however, have a difference and its how the character Coyote is portrayed in each trickster tale. How to cite Similarity and Coyote, Papers

Daedalus Myth And Portrait Of The Artist Essay Example For Students

Daedalus Myth And Portrait Of The Artist Essay James Joyces A Portrait of the Artist as a Young Man is a novel of complexthemes developed through frequent allusions to classical mythology. The myth ofDaedalus and Icarus serves as a structuring element in the novel, uniting thecentral themes of individual rebellion and discovery, producing a work ofliterature that illuminates the motivations of an artist, and the development ofhis individual philosophy. James Joyce chose the name Stephen Dedalus to linkhis hero with the mythical Greek hero, Daedalus. In Greek myth, Daedalus was anarchitect, inventor, and artisan. By request of King Minos, Daedalus built alabyrinth on Crete to contain a monster called the Minotaur, half bull and halfman. Later, for displeasing the king, Daedalus and his son Icarus were bothconfined in this labyrinth, which was so complex that even its creator could notfind his way out. Instead, Daedalus fashioned wings of wax and feathers so thathe and his son could escape. When Icarus flew too high too near the s un inspite of his fathers warnings, his wings melted, and he fell into the sea anddrowned. His more cautious father flew to safety (World Book 3). By using thismyth in A Portrait of the Artist as a Young Man (Portrait of the Artist), Joycesucceeds in giving definitive treatment to an archetype that was wellestablished long before the twentieth century (Beebe 163). The Daedalus mythgives a basic structure to Portrait of the Artist. From the beginning, Stephen,like most young people, is caught in a maze, just as his namesake Daedalus was. The schools are a maze of corridors; Dublin is a maze of streets. Stephensmind itself is a convoluted maze filled with dead ends and circular reasoning(Hackett 203): Met her today point blank in Grafton Street. The crowd brought ustogether. We both stopped. She asked me why I never came, said she had heard allsorts of stories about me. This was only to gain time. Asked me, was I writingpoems? About whom? I asked her. This confused her more and I felt sorry andmean. Turned off that valve at once and opened the spiritual-heroicrefrigerating apparatus, invented and patented in all countries by DanteAlighieri. (Joyce 246) Life poses riddles at every turn. Stephen roams thelabyrinth searching his mind for answers (Gorman 204). The only way out seems tobe to soar above the narrow confines of the prison, as did Daedalus and his son. In Portrait of the Artist, the world presses on Stephen. His own thoughts aremelancholy, his proud spirit cannot tolerate the painful burden of reality. Inthe end, he must rise above it (Farrell 206). At first, Stephen does notunderstand the significance of his unusual name. He comes to realize, by thefourth chapter, that like Daedalus he is caught in a maze: Every part of hisday, divided by what he regarded now as the duties of his station in life,circled about its own centre of spiritual energy. His life seemed to have drawnnear to eternity; every thought, word and deed, every instance of consciousnesscould be made to revibrate radiantly in heaven (Joyce 142) Throughout thenovel, Joyce freely exploits the symbolism of the name (Kenner 231). If he wantsto be free, Daedalus must fly high above the obstacles in his path. Like thefather Daedalus and the son Icarus, Stephen seeks a way out of his restraints. In Stephens case, these are family, country and religion. In a sense,Portrait of the Artist is a search for identity; Stephen searches for themeaning of his strange name (Litz 70). Like Daedalus, he will fashion his ownwings of poetry, not of wax as a creative artist. But at times Stephenfeels like Icarus, the son who, if he does not heed his fathers advice, maydie for his stubborn pride (Litz 71). At the end of Portrait of the Artist, heseems to be calling on a substitute, spiritual parent for support, when herefers to Daedalus as old father, old artificer.(Joyce 247),(Ellman16). Even at Stephens moment of highest decision, he thinks of himself as adirect descendant of his namesake Daedalus (Litz 71). Stephens past isimportant only because it serves as the fuel of the present. Everything thatStephen does in his present life feeds off the myth of Daedalus and Icarus,making him what he is (Peake 82). When he wins social acceptance by hisschoolmates at Clongowes, he does so by acting deliberately in isolation muchas Daedalus in his many endeavors: They made a cradle of their lockedhands and hoisted him up among them and carried him along till he struggled toget free (Joyce 52). When he reports Father Dolan to the Rector, hedefends his name, the symbol of his identity (Peake 71): It was wrong; it wasunfair and cruel: and, as he sat in the refectory, he suffered time after timein memory the same humiliation until he began to wonder whether it might notreally be that there was something in his face which made him look like aschemer and he wished he had a little mirror to see. But there could not be; andit was unjust and cruel and unfair. (Joyce 47) The myths pattern of flightand fall also gives shape to the novel. Each chapter ends with an attemptedflight, leading into a partial failure or fall at the beginning of the nextchapter. The last chapter ends with the most ambitious attempt, to fly away fromhome, religion, and nation to a self-imposed artistic exile (We lls 252):Welcome, O life! I go to encounter for the millionth time the reality ofexperience and to forge in the smithy of my soul the uncreated conscience of myrace.(Joyce 247). By keeping his audience in doubt as to whether Stephenis Icarus or Daedalus, Joyce attains a control that is sustained through therhythm of the novels action, the movements of its language, and the presidingmyth of Daedalus and Icarus (Litz 72).