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  • Spinoza’s Ethics of Strength of the Emotions in W Somerset Maughm’s Of Human Bondage

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    The writer probes on the complex world of W. Somerset Maughm’s protagonist in the novel Of Human Bondage, using the propositions the Jewish Portuguese philosopher Baruch Spinoza postulated in his book Ethics in 1674. Some of Spinoza’s propositions are as follows( Morgan, 2006, pp 108-120):

    The following propositions of Spinoza enlighten the changing character of Philip in his own bildungsromans of his life. The force and increase of any passive emotion and its persistence in existing is defined not by the power whereby we ourselves endeavour to persist in existing, but by the power of external causes compared with our own power;

    The force of any passive emotion can surpass the rest of man’s activities or power so that the emotion stays firmly fixed in him;

    An emotion cannot be checked or destroyed except by a contrary emotion which is stronger than the emotion which is to be checked;

    Knowledge of good and evil is nothing other than the emotion of pleasure or pain insofar as we are conscious of it;

    An emotion whose cause we think to be with us in the present is stronger than it would be if we did not think the said cause to be with us;

    We are affected toward a future thing which we imagine to be imminent mo intensely than if we were to imagine its time of existence tofarther away from the present. We are also affected by a remembrance of a thing we imagine to belong to the near past more intensely if we were to imagine it to belong to the distant past;

    An emotion toward a thing which we think of as inevitable [necessarius] is more intense, other things being equal, than emotion toward a thing possible or contingent, that is, not inevitable;

    Emotion toward a thing which we know not exist in the present, and which we imagine to be possible, is, other things being equal, more intense than emotion toward a contingent thing;

    Emotion toward a contingent thing which we know not to exist in the present, is, other things being equal, feebler than emotion toward a thing past;

    No emotion can be checked by the true knowledge of good and evil, insofar as it is true, but only insofar as it is;

    Desire that arises from the true knowledge of good and evil can be extinguished or checked by many other desires that arise from the emotions by which we are assailed;

    The desires that arises from a knowledge of good and evil insofar as this knowledge has regard to to the future can be the more easily checked or extinguished by desire of things that are attractive in the present;

    Desire that arises from the true knowledge of good and evil insofar as this knowledge is concerned with contingent things can be even more easily checked by desire for things which are present;

    Desire arising from pleasure is, other things being equal, stronger than desire arising from pain;

    Every man, from the laws of his nature, necessarily seeks or avoids what he judges to be good or evil.

    The more every man endeavours and is able to seek advantage, that is, to preserve his own being, the more he is endowed with virtue. On the other hand insofar as he neglects to preserve what is to his advantage, that is, his own being to that extent he is weak.

    Philip is highly affected by nature. There is in Nature no individual thing that is surpassed in strength and power by some other thing. Whatsoever thing there is, there is another more powerful by which the said thing can be destroyed. And he was able to surpass all his problems because of the incoming different emotions, problems which proved to make him stronger if not released from “Human Bondage”.

    The force whereby a man persist in existing is limited, and infinitely surpassed by the power of external causes.

    Philip’s deformity limits his own persistence to live. But his meeting with Hayward, Clutton and Lawson, his former classmates in France, who taught him that life is all about passion and the pursuit of it, he became engross in his art. France did not also care about his clubfoot. Cronshaw taught him more philosophy in life about living in let live. Cronshaw even on his death bed, defied doctors’ prohibition. His life is anyway to end just like any other’s lives.

    Set in Kent, England, a sub-urban near London, the novel presents the multifaceted personal, social, political and religious experiences of Philip carey from his childhood to his middle age of thirty. A bildungsroman (1991, Smiley) in style, which highlights the formation of a youngman’s character through education, travels and early life experiences. Philip at the age of nine, as a young boy, is set apart from his peers by some misfortune and undergoes a humiliating experience that later proves strengthening. his first experience of love is unsuccessful or problematic one that nevertheless paves the way to a happy marriage with a suitable mate. The novel has ample observation, if not criticism, with the character’s institutions such as schools, churches and class structures.

    Philip’s personal life is truly an amalgam of life’s tragedies. But how he surpassed the seemingly insurmountable heap of oppressing weight, if not the meaninglessness or nothingness of life, is the focus of this attempt anchored on Spinoza’s propositions. To enumerate, at an early age, his mother died of tuberculosis and his father, a medical doctor, died of lung cancer. His innocence never understood the situation. He has only the temporary joy of travelling to Blackstable to live with his uncle William and childless Auntie Louisa. Forcibly liking his second family as an orphan, he is left reading his books without noise for his uncle, a Vicar in the community, is irated with children’s unruly behaviour. Aunt Louisa is incapable of understanding Philip. he is left with the care of the governess. His personal disability or deformity, being born with a club-foot, proves to be the stigma of his life forever. His early education in Kingston School, caused his early childhood bitter as his peers laughed at him, mocked and physically abused him because of his physical abnormality. Then, his adolescence which brings him to Heidelberg, Germany to study foreign languages, is never sweet. Girls chided him for his deformity. the consolation is meeting friends like Hayward and Miss Wilkinson, who flirted with him, to his disgust. His sojourn to France, albeit, his uncle’s disappointment, proves to be annihilating. His lack of talent in painting plus his deformity, made him a mediocre student. His classmate Fanny Price, who fell in love with him, on the pretext of sharing the same abnormality (hers is lack of beauty), committed suicide out of hunger and wretchedness.

    Then everything escalated to its height, when realizing that painting is not his passion, he goes back to England. He decides to change again to pursue what his uncle William tells him to do: to follow the footsteps of his father. To be a doctor. feeling he has nothing to do, he embraces the new idea. Sauntering along the Parliamentary Street of London, he is driven to dine in a cafe where he meets the slatternly waitress Mildred Rogers who awakens his sexual desire. But his languid mien, caused by his club-foot proves to be a disadvantage. the waitress prefers rugged and rich men. But his desire to pursue the pale, anaemic, aloof Mildred, beomes a challenge to him. Gradually, the two becomeclose. But the ambitious and materialistic waitress always insults him because of his deformity. to slander him cripple, would totally “cripple” his mood and emotion. Even when Philip is generous to the moody Mildred, she hurt him by marrying a German businessman Miller. His desperation is tantamount to his yearning for Mildred. He is left believing that one day, he would see Mildred again. His concentration with his medical study is forlorned. And Mildred came back,looking sickly, with a child. His generosity and forgiveness for his first love, who hurts him the most, is even greater than life. The ingrate waitress after a little recovery from poverty, elopes with Griffith, Philip’s handsome and robust classmate. That is the height of Mildred’s shamelessness. So her expected return is welcomed with derision by the newly awakened Philip. Even when Mildred turns into a prostitute, Philip is only capable of compassion, without passion or sexual desire. She is freed at last. And Philip is extricated from the pains excruciatingly caused by the destitute Mildred.

    His obsession to Mildred costs Philip his fortune and gradually his savings is left with seven pounds. He is forced to stop from his medical studies that brings him to experience unbelievable poverty. He meets the generous Athelneys who fed and sheltered him in his misery. His uncle’s death, leaving an average fortune, helps him to finish his medical studies. His fateful shelter with the Athelneys brings him to his final, harmonious and peaceful resolution to marry Sally Athelney and go on with his life beautifully. Shakespeare is affirmed by saying that “all is well that ends well.

    At this juncture, it is noteworthy to enumerate Spinoza’s propositions to elucidate Philip’s “bondage” and his strength of his emotion. Spinoza in his preface to his philosophical treatise wrote:

    I assign the term “bondage” to man’s lack of power to control and check the emotions. For a man at the mercy of his emotions is not his own master but is subject to fortune, in whose power he so lies that he is often compelled, although he sees the better course, to pursue the worse. In this Part I have set myself the task of demonstrating why is so, and also what is good and what is bad in emotions. But before I begin, I should like to make a few preliminary observations on perfection and imperfection, and on good and bad ( Morgan, 2006).

    In the beginning, Philip is a slave if not a victim of his emotion. His physical deformity, his club-foot, caused him too much pain. He learned to hate his classmates and,worst, abandoned his belief in God. He could not appreciate the God of his uncle vicar when God cannot give him the miracle he wanted to have normal feet. His painful childhood in school changed him to be rough character. He never wanted to become a vicar anymore. His obsession to Mildred indeed showed his real weakness as a man, and even wretchedness as a human being because of his deformity. he would always think that women cannot love him as he is because of his deformity.

    He who has undertaken something and has brought it to completion will say that the thing is completed; and not only he but everyone who rightly knew, or thought he knew, the intention and aim of the author of that work. For example, if anyone sees a work (which I assumed is not yet finished) and knows that the aim of author is to build a house, he will say the house is imperfect. On the other hand, as soon as he sees that the work has been brought to the conclusion that its author had intended to give it, he will say that the house is perfect. But if anyone sees a work whose like he had never seen before, and he does not know the artifecer’s intention, he cannot possibly know whether the work is perfect or imperfect.

    This appears to have been the original meaning of these terms. But when men began to form general ideas and to devise ideal type of houses, buildings, towers, and so on, and to prefer some models to others, it came about that each called “perfect” that which he saw at variance with his own preconceived ideal, although in the artifecer’s opinion it had been fully completed. There seems to be no other reason why even natural phenomena (those not made by human hand) should commonly be called perfect or imperfect. For men there are wont to form general ideas both natural phenomena and artifacts, and these ideas they regard as models, and they believed that Nature (which they consider does nothing without an end in view) looks to this ideas and holds them before herself as models. So when they see something occurring in Nature at variance with their preconceived ideal of the thing in question, they believed that Nature has then failed or blundered and has left that thing imperfect from their own preconceptions rather than from true knowledge.

    So perfection and imperfection are in reality only models of thinking, notions which we are wont to invent from comparing individuals of the same species or kind; and it is for this reason that I previously said (Def. 6, II) that by reality and perfection I mean the same thing. For we are wont to classify all the individuals in Nature under one genus which is called the highest genus, namely, the notion of Entity, which pertains to all the individuals in Nature without exception. Therefore insofar as we classify individuals in Nature under this genus and compare them with one another and find that some have more being or reality than others, to that extent we say that some are more perfect than the others. And insofar as we attribute to them something involving negotiation, such as limit, end, impotence and so on, to that extent we call them imperfect because they do not affect our minds as much as those we call perfect, and not because they lack something of anything except that which follows from the necessity of nature of its efficient cause; and whatever follows from the necessity of the nature of its efficient cause must be necessarily be so.

    To be a master of his emotion is to attain perfection. It may not be physical but spiritual, mental and emotional. His challenges may have hardened him but enlightened him to loosen up and later, embrace the beauty of life. The unattainable perfection, was answered, through his friend Cronshaw, a poet whom he met in France, that the meaning of life cannot be answered unless one lives it. he realized that men are born, study, work, marry, have children and die is the most beautiful pattern that the Persian rug edifies.

    As for the terms “good” and “bad,” they likewise indicate nothing positive in things considered in themselves, and nothing but models of thinking, or notions which we form from comparing things with one another. For one and the same thing can at the same time be good and bad, and also indifferent. For example, music is good for one who is melancholy, bad for one in mourning, and neither good or bad for the deaf. However, although this is so, these terms ought to be retained. For since we desire to form the idea of man which we may look to as model of human nature, we shall find it useful to keep these terms in the sense I have indicated. So in what follows I shall mean by “good” that which we certainly know to be the means for our approaching nearer to the model of human nature that we set before ourselves, and by “bad” that which we certainly know prevents us from reproducing the said model. For it is important to note that when I say somebody passes from a state of less perfection, to a state of greater perfection, and vice versa, I do not mean that he changes from one essence or to form to another (for example, a horse is as completely destroyed if it changes into a man as it would be if it were to change into an insect), but that we conceive his power of activity, insofar as this is understood through his nature, to be increased or diminished.

    Philip may have been both good and bad due to circumstances. he was good in the Blackstable with his Auntie Louisa and Uncle William. he became bad in school because his classmates taunted him because of his clubfoot. In Heidelberg, he is good to all the people even if he did not understand their silence and even their insolence. In France, was forced to become bad, to protect himself from the looming abuses of other foreigners. The death of an anti-social fanny Price, showed him to be the only compassionate painting student.

    Hence, after a series of Philip’s tragedy, his experiences, his meeting with different people, his education, his travel to Heidelberg, to Paris and to London, his affluence and reversal of his fortune to poverty taught him greatest lessons in life. That life can be beautiful if man knows to master his emotion, moderate his desire and be reasonable in every decision. A man is finally freed from the chains and cufflinks ” Of Human Bondage”.

    References:

    Maughm, Somerset W. (1991). Of Human Bondage.

    Canada: Bantam Book Doubleday.

    Morgan, Michael (ed.). (2006). The Essential Spinoza: Ethics And Related Writings.

    Cambridge: Hackett Publishing, Inc.

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    Source by Wilfredo M. Valois

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  • Effective Restaurant Training Techniques: Jump-Start Your Training Program Today

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    I have seen different types of training techniques for restaurant staff. Some restaurants send new hires to their corporate training school; others hire experienced staff thinking they already know how to work that position. I think all new staff members should receive quality training regardless of previous experience.

    Each role in a restaurant is important for the restaurant’s success!

    Management must be able to work in every position. Their knowledge of each job is vital. Managers must step into those other roles to maintain customer service. Some reasons could be if there is a call-out, or if the sales are higher than projected.

    If people tell you that managing a restaurant is easy, they are dead wrong. In-fact it is the most difficult position in the restaurant. Running a restaurant is challenging; management needs to be able to multitask, give direction, and follow-up on that direction. Managers must be able to retain large amounts of information and make quick decisions and be ready to step into any position.

    Managers are not born to run a restaurant; they are developed into that position. The same goes for the rest of the staff. Train the management staff, then the trainers. Management will oversee the trainers as they train the rest of the staff.

    The most effective restaurant training techniques are:

    • Show-Do-Review: The trainer shows the staff member how to do the task. Then the trainer observes the trainee actually doing the task. After completion, they review the task together and the trainer gives feedback to the new hire. The Show-Do-Review technique is especially effective in learning recipes, kitchen duties, cleaning tasks, or service tasks.

    • The Memory Game: Once the new hire has some understanding of their new job, the trainer shadows the staff member and helps the new hire remember different key components of the job. Periodically the trainer will ask the trainee a question. If the trainee does not answer the question correctly, then the trainer will provide the answer. The trainer will continually repeat the question all throughout the day or night until the trainee answers it correctly. The purpose of the exercise is getting the staff member to retain the information. The Memory Game can be used to remember important food time and temperature, menu and recipe knowledge, service steps, or even manager responsibilities.

    • Role-Playing: Role-playing is one of the most effective training techniques to use in creating top-notch performers. Existing staff members and new hires experience real life situations and “learn by doing”. The trainees will experience “real life” situations in a simulated and controlled environment. This technique allows the trainer to evaluate the trainee’s strengths and areas to improve. This also helps to develop an action plan so that the trainee can overcome any obstacles to their success. “Practice make perfect.” This technique allows the employees to see different perspectives, build confidence, and form good habits. The trainer will observe the role-playing and my correct the staff members periodically to ensure they on the right path. Role-playing is a great technique for service staff and managers to learn the proper way to handle customer questions or complaints, how to approach a table, and the steps of service.

    • Shadowing: The trainee shadows the trainer, and the trainer shows the trainee the correct procedures in completing the assigned task. The trainer should ask open-ended questions in reference to the task. Once the trainee is more comfortable, then the trainer will shadow the employee. Communication between the staff members is crucial in developing the trainees. Shadowing could be used for nearly any role, especially on the first days and last days of training.

    Once the trainer evaluates the staff member and determines that the employee has mastered that position, then that person is ready to work independently.

    Management should observe or be involved in the training process to ensure that employee is receiving quality training. The general manager/owner oversees the managers. The general manager/owner may have the final say in whether a new employee is ready to work solo.

    Utilize any tool available to help achieve the training goals. During the training process using feedback or assessment forms can help track the quality of the training. Documenting the progress of the training and reviewing it with the employee will help the employee to know your expectations. It also gives you a paper trail of that particular employees training.

    Using a variety of training techniques for your restaurant is useful in getting all your staff on the same page. It also is more interesting than sitting down with someone and reading a scripted presentation. It will help you retain staff, because too many people are thrown into their jobs without the proper training and get frustrated and quit. Having a training program that is easy and effective is important in your restaurant’s success.

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    Source by Jeffrey Schim

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  • A New Perspective on Medicine

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    Society evalu resorts to pharmaceuticals as a means of alleviating pain, treating infection and illness, yet many of these synthetic drugs have long lists of side-effects. What the world doesn't know is the potency of natural remedies. Thus, medical coverage is not universal, and this precipitates the need for holistic treatments. Near Eastern medicine has largely been dismissed in favor of pharmaceuticals, in the process discarding millennia of medical knowledge. What can be cured with crushed clovers is now replaced with ibuprofen. This is one of the biggest flaws in our "universal" health care system. I developed a medical journal over last year spring break, and I have been expanding it ever since, adding holistic remedies used in place of synthetic drugs to treat a variety of ailments. Not only would this restore almost-forgotten medical knowledge, but it would also encourage a peaceful relationship between Muslims and other Near Eastern communities during a time when such peaceful relationships are vital.

    How long are we to remain ignorant of these things? Yes, perhaps medications and OTC drugs are much more efficient and work faster, but what happens to our appreciation for medical literature and the equivalent of a millennium of medical knowledge? Are they to be discarded? Thrown away?

    This is something that we, as a society, have to work toward, one step at a time.

    Recently, I put this to use. A few days ago, on January 6th, 2018 at about 9pm, my father indicated he was experiencing some discomfort in his right eye. Curious, I took a high resolution photo of the eye in question, in a slightly supine position. I analyzed the picture and discovered an irregular growth / inflammation in the right, upper eyelid. I do recall studying and reading about various eye infections and irregular growths in a few of my classes in school, such as conjunctivitis ("pink eye"), myasthenia gravis, and blepharitis. I came to conclude that the symptoms that my father was experiencing were characteristic of what is commonly called "stye". In stye, the eyelid is usually slightly red, almost looking like it was trying to develop into a minor for of blepharitis. I asked myself and my dad, "Perhaps this stye was the cause of lack of sleep? I asked this because a few blood vessels in his right eye were slightly bulging." No ", he replied. I read and researched about stye online. Just before my mom got up to go to the pharmacy to get him a few OTC's, I read that stye could be cured through ONE SIMPLE TECHNIQUE: HEAT.

    I told my father to apply heat (best option) so that the inflammation in the idea and whatever bacteria in there can dissociate (if that's the right word). He held a soaked, hot towel ABOVE his right eye (notice: he did not necessarily have to TOUCH his eye with the towel). He held it for 6-8 minutes and repeated this until the pain subsided. The next day, he performed the same procedure. After just two days routinely practicing the same procedure (WITHOUT MEDICATION), my father's eyelid returned back to its normal color and shape.

    So there you have it.

    Certain things CAN be cured by simply holistic, natural remedies. We like to think that doctors, physicians, pharmacists, etc. are "in charge" of Medicine. Not necessarily. Medicine can start at home, with us. One step at a time.

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    Source by Masood Shawyan Jan

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  • Combine Language Learning and Technology to Explode Your Teaching and Learning Success

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    Are you looking to boost your English language teaching or learning skills to yet ever higher levels? Would you like to stimulate more interest in your language classes or break out of a slump or plateau? Combine the use of a variety of language learning techniques with continually developing technology to spur your successes. Here are some useful ideas and web sites to get you started.

    BLOGS

    A Web Log or Blog, is not unlike a dairy you keep online. You can write instructions, an essay or post any type of information you want. Graphics and images can be included to illustrate the written material. Sound and audio-visual files can also be placed into a blog for added impact. A teacher can post a reading or assignment where students can comment right online. No papers, no clutter and you can view it almost any time. Blogs are becoming easier to use and access and many sites allow you to set one up for free.

    ONLINE VIDEO / AUDIO

    Most professionals have an e-mail address or two. Your e-mail can now become a communicative tool between you and the learners. E-mail can now also include the use of images and sound or audio-visual clips, as well as the message text. Learners can send in assignments as attachments or pasted into the body of the e-mail. They can ask questions and receive timely feedback without waiting for the next class session. Teachers can send out instructions, updates or other information to learners individually, or as a group also without having to wait for the next scheduled class session.

    No computer? No problem. In many parts of the world e-cafes are so cheap they’re actually a viable alternative that students can easily afford. Whole “communities” of young learners are based on hangouts at e-cafes in some cultures. Talk to your students about it. You might be surprised.

    USE OF ONLINE RESOURCES for TEACHING / LEARNING

    The use of online games, EFL practice sites student and teacher forums, communities and activities has exploded in recent months in many parts of the world. Virtual communities and online reference libraries now enable learners to problem-solve, research a paper or to more quickly complete assignments that formerly would have taken disproportionately large amounts of time to complete. For example, a few sites worth mentioning include:

    o http://www.books.google.com/

    A web site which offers free access to books that can be read on-screen

    o http://www.universia.net.co

    This is a site which has a lengthy listing of virtual libraries in almost any genre and connects more than 900 mostly Spanish language libraries

    o http://www.redclara.net

    This site interconnects an advanced academic network of Latin American libraries

    o http://www.lablaa.org

    This site allows you access and read a large number of its collected works online and contains exposition pages

    o The official Project Gutenburg web site contains an extensive listing of literary works in English which have entered the Public Domain. It’s online at: [http://promo.net/pg/]

    Try some of these useful ideas and web sites to get you started in combining the use of a variety of language learning techniques with continually developing technology to explode your English language teaching and learning successes. If you need to know more about using these or other new technologies to boost student interest and motivation making your English language teaching more effective, feel free to e-mail me at the address below with questions or comments.

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    Source by Larry M. Lynch

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  • A Modern-Day David and Goliath – Techno Teen Takes on Computer Giant – and Wins!

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    “Those who say it can’t be done need to get out of the way of those that are doing it.” Unknown

    The entrepreneur of today’s world can be compared to the legendary Don Quixote – chasing windmills in search of great fortune.

    The entrepreneurial journey I would like to share with you in this article might be a bit of a surprise. I find it remarkable yet I have barely seen it mentioned in the press over the years.

    Imagine the following scenario. The year is 1983. You are a college freshman at The University of Texas in Austin, sitting in your dorm room playing around on your computer.

    1983. Pre-Internet. Pre-computers-on-every-desk, in-every-room-of-the-house. These were the days of PONG, where very few people sat around playing with personal computers. (If you don’t know what PONG is, ask someone a lot older than you.)

    Back to your dorm room. You are supposed to be in class. Instead, you are sitting there playing around on your computer and you have a bright idea – the proverbial “light bulb” goes off in your head.

    “I think I’ll start a computer company and compete with IBM!” Since no one is around to hear you and tell you how ridiculous you sound, you continue.

    You have no employees. No manufacturing facility. No family in the computer business. You’ve never even worked for a computer company. Sure, you’ve been pulling computers apart and putting them back together since your were 15 but come on! Compete with IBM? Everyone around you thinks you have lost your mind.

    Yet, you believe you have a better way.

    You develop a passion for the idea of making better computers and selling them for less by going directly to the consumer.

    The story goes that mom and dad heard that sonny-boy was skipping a lot of classes so that he could play with his computers. Mom and Dad decided to pay a visit one day and caught him red-handed. After reading Michael the riot act, Michael’s dad asked him what he wanted to do with his life. He told his dad that he wanted to compete with IBM.

    Imagine that conversation!

    And so it was that the 19 year old boy genius, techno-teen Michael Dell, armed with only $1000, abandoned his plans of becoming a doctor and dropped out of college after his freshman year to take on the big boys – IBM, Compaq, Hewlett-Packard, and others.

    He believed he could outsource everything – the manufacturing, distribution, sales and service. Remember now, this was pre-Internet. Pre-global-out-sourcing. He believed he could bypass the traditional expensive distribution channels and go straight to the consumers, giving them exactly what they wanted – better quality, lower cost computers made specifically for them.

    He knew what his consumer wanted because he was his own consumer – frustrated by poor customer service, crappy quality, non-existent customization and high prices.

    The rest is history. Modern American business history, that is.

    By the time Dell was 22 years old, his company had achieved annual sales of about $150 million. Starting with only $1000 and growing the company to a $1 billion (with a B!) public company in less than 10 years is a record few companies can match.

    Today Dell, Inc. is a $57 billion company with the leading market share in the United States with over 46,000 employees, including more than 16,000 in Central Texas. Dell is listed as the 8th wealthiest person in the United States according to Forbes magazine (August 2007). Dell first made the Forbes 400 Wealthiest People in the United States at the ripe old age of 26. He is said to have been worth over $20 billion by the age of 40.

    Dell has been named “Entrepreneur of the Year” from Inc. magazine; “Man of the Year” from PC Magazine; “Top CEO in American Business” from Worth Magazine; “CEO of the Year” from Financial World and Industry Week magazines.

    Not bad for a college dropout.

    Michael Dell. At age 19, he realized he could build a better mousetrap and sell it for less.

    Simple formula. Brilliant execution.

    The first time I heard this story, I frankly didn’t believe it. A college freshman takes on IBM, and wins?! No way, said my logical left brain. There has to be more to this story!

    No, this one goes in the “truth is stranger than fiction” category.

    Michael Dell was just a bright boy with a bright idea. Fueled by passion. Too young, too foolish, and certainly too focused to listen to the naysayers who said it couldn’t be done.

    According to Dell, “No one told me that we couldn’t do it, and if they did, I wasn’t listening.”

    It’s a good thing he wasn’t listening. In addition to revolutionizing the personal computer industry, Dell has donated more than $1 billion in stock to the Michael and Susan Dell Foundation, which is now one of the country’s largest foundations. The foundation focuses on children’s health and education initiatives.

    Even though today’s story is about a mega-millionaire with a gazillion dollar company, never forget that once upon a time, Michael Dell was a lot like you and me. Just a kid with a dream that wouldn’t die.

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    Source by Gina Carr

    Views: 0

  • Book Review: Breaking Through, Being Healthy In Mind, A 250 Pound Weight Loss Story

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    I recently finished two of this author’s eBooks: Breaking Bad, Overstanding Behavior from an Abusive Father, Breaking Point 1, and Understanding Manifestation, Create a Vision and Hold on Tight, Overstanding Book 1. The author, Jason Criddle, is a product of mixed race and broken home. His father, a black man, severely beat him when he was young, and when Jason was nine-years-of-age his father left him and his white mother to their own devices.

    I was impressed with this author’s writing style as well as his forthright openness about his childhood and the insights into his eventual success. Consequently, I just had to read this book too. But the primary reason I looked for this weight loss reading in particular is the personal journey that I’ve experienced with obesity.

    I was a slender youth, an active athlete in high school, and well-muscled – “lean and mean” while in the Marine Corps. However, about fifteen years ago I came to the realization that I’d gained from 3 to 5 lbs. annually for the past twenty-five years. When I was in the Corps I weighed 185 lbs. Since then, the high-water mark for me was 308 lbs. I felt terrible, it hurt to sit with that large belly in the way, and each of my joints ached when I walked. So, I’ve been searching for diets to bring me back to my optimum weight.

    Slim Fast and other supplements didn’t help. Atkins, liquid, and a number of other diets didn’t help. I’ve read a few books that have helped to some degree… books about quinoa, healthy slushies, juicing, paleo-diet, even hypnosis, and self-affirmations, all have helped. But I needed to find something that was all-encompassing, something that would touch all aspects of life. I found it in Breaking Through. Our author has presented us with a change in living, a change in life, and a new method of thinking. It’s not just diet and, in fact, this is not a diet book. It’s about keeping active, eating smart at correct intervals, and thinking positively.

    I’m proud to say that I’ve lost 21 pounds, down to 287, about a pound or two over each of the past three months. That is in fact the best way to lose weight – slowly, but consistently. If you tend to gain weight over the holidays and need to start a healthier lifestyle this, of course, isn’t the answer to everything, but it’s certainly a start and it’s an inspiring read!

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    Source by Christopher E Gregory

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  • How to Select the Right Hair Transplant Doctor

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    1. Do your research

    Before selecting a doctor for the job, it is very important that you do your research. Use the Internet as well as referrals from your friends and family to make a list of at least 4 to 5 best hair transplant surgeons for hair loss treatment in the town.

    Note: Though the best way to find the right surgeon is through a referral, avoid referrals from your hairstylist. Friends and family are the most trusted sources in any case.

    2. Find the right doctor

    Once you have prepared the list of doctors, book consultation with all of them to have a better understanding of their skills and the services they offer. During the consultation, judge your physician for his approach towards hair restoration. He or she should have holistic approach towards the surgery and must be able to help you evaluate your hair restoration options, both surgical and non surgical. Also make sure that hair restoration is the primary focus of your physician’s practice.

    Based on the above facts, choose the best physician out of the list.

    3. Find the right clinic

    Besides choosing the right doctor, it is also important that you choose the best clinic in the town that is patient focused. Check if the clinic has made investment in state of the art equipment as well as in hiring the most skilled staff that is dedicated and trained for all types of Hair Transplant surgeries.

    4. Ask for references

    Another thing that helps in selecting the right doctor for the procedure is his score. Ask your doctor how many patients he has produced for excellent results. It will be very good if the surgeon could give you a couple of references – the patients he or she has operated over the last few months. You can meet them to know their experience. This will give you a better idea of the surgical skills as well as patient handling of your prospective surgeon.

    5. Before and after pictures

    After references, the best source to check the surgical skills and the results the surgeon has produced in the past is the “Before and After Pictures” of the patients your prospective physician has operated in the past.

    6. Read the reviews

    You can also have a better understanding of the physician’s reputation in the hair transplant industry by reading the patient reviews on different hair transplant related discussion forums on internet. A vast majority of patients participates in these online discussion forums and post not only their experiences but also their before and after photos.

    7. Don’t let low prices tempt you

    Having that said, never let the low prices tempt you. Nurse practitioners and assistants are also performing hair transplant surgeries nowadays, at quite cheap rates. But don’t compromise on the quality of the services just to get the surgery done at cheaper rates.

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    Source by S Muddassar Shah

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  • Implementing the Character’s Emotion

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    Now that you’ve made your choices, how do you generate these emotions and make them readable to the audience? And in doing so, does the actor actually feel the emotions or simulate them? These are the questions often asked about portraying the emotion.

    It stands to reason if you want to affect the audience and move them, you, playing a credible character, must feel these emotions. But you must feel them in such a way that they are conveyed to the audience. The degree to which you feel each emotion will depend upon the method used to carry out this feat and your ability to master it.

    Actors involved in what is termed “Method Acting” use the affective memory to generate emotions. Here the actor recalls a specific event in his own life that has produced the required feeling. For example, remembering a fight you had with another student in high school could arouse the emotion of anger. Recalling the death of a close relative might generate the emotion of grief. The actor has to go back, replay the experience leading to the desired emotion, and relive those moments in his mind. Through this method, the required emotion is revived.

    There are some benefits and also some dangers in this type of emotional generation. Usually, emotions derived this way seem real and deeply moving, more so to the actor than the audience. That’s because there is a tendency to internalize these emotions so much that they are not fully evident to the viewer. The method does make producing emotions seemingly easy, but at a price.

    You will find that emotions take time to evolve naturally and resist abrupt changes when deeply seated in ones memories. This is one reason few method actors make it big in comedy. The changes come too quickly and the method actor usually lacks the required emotional agility. Likewise, the method process takes up valuable rehearsal and production time as the crew and cast wait for the actor to call up the right emotion.

    Actors using the method are likely to develop a self-indulgent feel “good” attitude which gravitates towards feelings closest to them and more comfortable for them to generate. The performance then becomes one that portrays the actor’s reality and not that of the character’s. You can see how this may stifle the actor’s imagination and limit the search for emotional truth. The method can likewise put a strain on the actor’s psyche. Using past events, some best left forgotten, can lead to situations where it affects the actor’s mental stability.

    Another danger is that of becoming bored with affected memory when repeated retakes or performances are required. There is also the possibility of being so caught up in past events one does not relate as the character.

    Another way to generate emotions is to rely on our emotional conditioning, the response to the word for each feeling, and the ability of the body to remember the resulting psychical (of the mind) and physical manifestations. This is the most simple way to produce a whole galaxy of emotions with little effort on our part. Through our childhood development, we are conditioned by the meaning of words, especially with regard to feelings. We respond to them without any conscious thought.

    Consider what happens when you are reading a good book or script. You become involved in the story and the characters. You see and feel their imaginary lives. And when you read the action description:

    She looks at his mangled body, then turns away in horror.

    The word itself is the key to what she felt. We don’t have to stop, reflect back on our own life and re-experience some past event. The response is there before we have time to think. The word itself is the signal to release all the information we have on that emotion and to invoke an immediate physical response.

    This response, while different for each person, still has common traits and a behavior that tells others which emotion is being felt. It’s almost a language in itself and a part of our non-verbal communications.

    The answer lies in the fact that in physiological terms, all emotions have similar traits. That is to say, if we were to test the breathing, heart rate, skin temperature, etc., of two people, one feeling rage and the other joy, the “physiological” signs would be similar. Only the face, gestures, and movements would signal which emotion they were actually feeling. But the flush face, the pulse and breathing rate, etc., all signifying the energy behind the emotion, would determine the size of the emotion.

    Through this process we have learned how to reach and find the emotion. But now, we must learn to nurture these feelings, making them big enough for the performance and adapting them to build credible characters.

    As we said before, emotions are feelings large enough to change your life or destroy it. They need to be powerful feelings, but all that you start with is the small sensation that the name of the emotion evokes. How can we make it bigger?

    As the word for the emotion is read, the actor feels a response centered somewhere in his body. For instance, the emotion “fear” might be felt in the stomach. For another actor, it might be in the shoulders and neck. “Suspicion” causes a response around the eyes. “Lust” in the hips or groin. “Desire” could be centered in the lips or eyes.

    For each actor, the physical response will vary. But the important thing is that the actor feels these responses and gains awareness of the physical symptoms in various parts of his body.

    How do we increase this energy level? There is a technique taught by Don Richardson, a well know TV director. It entails having the actor do some physical exercise, such as push-ups, until he’s completely out of breath. Then after a few moments, have him go directly into the scene with his intention and emotion located and his energy level at a peak. The result is astounding for the actor has no choice but to emote fully.

    The next step is to start from a totally relaxed state, retaining the selected intention and emotion, and then adding what one felt at the peak when doing the push-ups. The small emotion is now fired up by a burst of adrenaline flowing through the system as the body recalls the effect of the push-ups. The emotion is thus achieved on a large-scale as the body remembers the intense physiological state attained earlier.

    Now the emotion has to be adapted to create your specific character and make him credible. Credible emotions evolve out of the character’s perception of reality, their past experiences (emotional conditioning), and their struggles as they strive toward their goals. Character traits also play an important role in how emotions are adapted. For instance, is the person you are portraying mainly rational, mainly emotional, or a balance of the two, and as a result, would the feelings be out flowing, repressed, or even denied? Is there a great deal of inner conflict where the emotions hinder the character from attaining his objectives? What is the dynamic range of feelings, deep, shallow, explosive, etc? All these questions entail a good deal of research into creating the emotional side of a credible character.

    To assist you in this regard, I’ve compiled discussions on the various root emotions. These will aid you in adapting emotions to your specific character needs as well as improving your emotional range and awareness.

    The third way is indicating the emotions through mechanical acting. In this approach, the actor imitates the physical responses, mimicking the feelings as displayed by others.

    People often look down on mechanical acting. Yet sometimes, it becomes a necessity, either as a training or rehearsal tool exploring possible expressions and gestures, or when the actor’s capabilities cannot fulfill the complex demands of the scene. Demands such as acting style, blocking, stage business, and/or quick precise attitude and emotional changes. In such situations, producing the proper emotional illusion through a mechanical response will, at least, get the actor through these difficult moments. In addition, the director may specify certain emotional responses to attain his vision of the story, responses that may later be embellished by editing, music, and sound effects.

    In certain types of performances, particularly comedy sketches, parities, certain sit-coms, and stand up comedy, experience with mechanical acting is helpful. This is because the focus is centered on dialogue emphasis, precise timing, and clarity of attitudes. Likewise, exaggerated surface emotions have the potential to change unexpectedly while deeply felt realistic emotions lack this agility.

    This is not to say that the actor can not feel these emotions. In fact, he may feel them strongly, but the expression begins as a duplication of some physical response. Life studies, the observing of real people, nurture such emotional beginnings.

    ROOT EMOTIONS

    Root emotions are active feelings that clearly convey what is felt by the characters. They do not include happiness, sadness, sorrow, loneliness, or nervousness as these are not an emotion, but state of being. The state of being is the result of an emotion. Root emotions, on the other hand, are the cause and have the potential to affect change.

    Certain weak and complex emotions should likewise be avoided. Self-pity is weak in that it plays an effect and is often resented by the audience. Disinterest and boredom are likewise poor choices as there is no active force to motivate the character.

    Love is also a poor choice in that it is a complex emotion made up of many other feelings. Playing the feeling of love immobilizes the character rather than inviting action. A better choice would be to play a definitive emotion such as desire, lust, joy, exhilaration, or exaltation. In an unstable relationship, other emotions such as jealousy, suspicion, bewilderment, guilt, or embarrassment, along with certain other emotions, could be used. By using one single root emotion at a time, subtle shadings within the realm of love can be clarified as well as changes in the intensity.

    The emotions of the characters also plays into the psychological experience of the audience. It might be the voyeurism of spying on the character’s intimate moments. It could also be the vicarious experience of identifying with character’s situation or problems. It could also be the visceral feelings we experience as we watch the scene unfold, emotions moving us and giving us a sense of being entertained. Strong emotional choices and well-portrayed feelings, ones that connect with the viewer, can make for interesting and memorable scenes. They can help create anticipation, arouse curiosity, and hook us enough to be intrigue and involved.

    I’ve divided the most frequently used root emotions into five different categories. Each category is further clarified as to the focus of the emotion as well as the general clarifications.

    ROOT EMOTIONS

    DARK EMOTIONS (Active – Directed at or against someone, something.)

    Rage

    Anger

    Hatred

    Contempt

    Jealousy

    Envy

    SURVIVAL ORIENTED (Reactionary – Selfish – Focus usually on the expected or imagined.)

    Terror

    Horror

    Fear

    Dread

    Despair

    Grief

    Suspicion

    Apprehension

    GOAL ORIENTED (To find, to obtain, to provide – Focus usually on wants.)

    Revenge

    Ambition

    Greed

    Hope

    Desire

    Lust

    Determination

    Compassion

    Curiosity

    EGO ORIENTED (Self evaluation & result – Focus usually on masking or repressing the emotion.)

    Guilt

    Shame

    Indignation

    Intimidation

    Embarrassment

    Resentment

    BRIGHT EMOTIONS (Enjoyable – upbeat – Focus usually on the continued enjoyment.)

    Exaltation

    Joy

    Pride

    Exhilaration

    Wonderment

    Bewilderment

    In review, root emotions motivate you to fight for something, to change your (the character’s) life or destroy him (the character’s dramatic soul). To be a strong sympathetic character, always play the fighter’s side of the emotion, thinking you can win rather than loose. The physical look of one particular emotion will vary depending on the story situation, the characters, and the natural casting chemistry within and between actors.

    To further your knowledge on this subject, explore the physical sensations, sources, forms, and dynamics of the most common root emotions. Observe emotions in life as well as performances. What are the defining characteristics? Such research will also serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

    This chapter has covered the basic skills used in building and implementing dramatic emotions. Use these skills as tools to nurture and release the character’s true feelings, and make them readable to the audience. Most important, create emotions that serve the story, its genre and purpose.

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    Source by Erik Sean McGiven

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  • Why Men Won’t Marry And Go Their Own Way

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    I am fascinated by the number of women who complain that there are not any good men out there for marriage and the number of men who go their own way (MGTOW).

    As I was doing research for one of my books, I learned something absolutely astonishing. I learned that both men and woman are more educated in the area of preparation for an occupation that we are to successfully choose and marry a mate for the next forty years. Why is this important? Many people who get into relationships and get married haven’t an accurate idea what they are getting themselves into. They are not educationally equipped with the tools that they need to have a healthy relationship. Even worse, due to the emasculation of men and manhood displayed in media, the court system, films, Human Resource policies, etc., there is no benefit to men for being men.

    More now than ever, schools and colleges are feminine-centric. The Judeo-Christian model of marriage where the roles of traditional marriage are not equal is frowned upon by the feminist movement. That said, how can a man see marriage in today’s society as a benefit? Most times he is not fully appreciated for all that he does. He is expected to work his whole life for his family and suddenly his wife decides to leave, causing him to lose all that he has invested in and worked for?

    Women are taught that they need to have high standards for the man they are supposed to marry. However, are they emotionally ready for marriage? It is clear that both men and women are not likely to have read a good relationship or communication book to prepare themselves for a healthy relationship. Men often complain how women can sometimes be “drama queens,” are selfish and want to be the center of attention. Some men also report that women are not steeped in bringing much to the table beside the sexual relationship which women tend to use to manipulate men. Men like companionship and women who like to share their time doing the things men like to do. Men love to be respected. They like women they can trust, are considerate but often say that they find these things lacking.

    Men who go their own way do not have to bear the risk of being decimated, financially, emotionally and physically. They can live a more peaceful, drama free life. They often will date, but will not marry again. Men want a relationship, but many men and women are unprepared. So how can this dynamic be improved?

    I believe that educating ourselves as to what a healthy relationship is supposed to be is critically important. Statistics reveal that the total percentage of college graduates that will not read another book after graduating college is 42%. For High School graduates it is 33%.

    Education is essential concerning relationships. Imagine what a difference it would make if 1/3 of our formal education included relationship skills? I submit that the result would be couples better prepared for relationships. That said, reading and practicing what is learned, would improve not only the quality but the longevity of a relationship. Realizing that “being” the right person who is prepared for a relationship versus “finding” the right person could change the dynamic of the lack of available marriage eligible men and women.

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    Source by Johnn Williams Jr.

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