Alder free essay sample

What influence did these beliefs of inferiority have on his striving for superiority? Because of the feeling of inferiority, Martin was eager to make achievement when he grew up, and he strived for his study and work. He was an excellent student at school, and also became a well-known lawyer in his career. He wanted to use the achievements to increase his superiority and decrease the inferiority. I think the beliefs of inferiority had positive influence on his striving for superiority. Martin’s inferiority helped him to improve himself and achieve success. He wanted to get rid of inferiority and striving for superiority. In order to achieve this goal, he had motivation to study hard and work hard. Consequently, he obtained success and achieved his goal. 3. According to Adler’s theory, what was Martin’s goal? What was Martin’s unique style of life that could be used to achieve this goal? How do you know this? According to Adler’s theory, Martin’s goal was to be out of inferiority and achieve superiority. We will write a custom essay sample on Alder or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The style of life was the life plan or guiding image, and referred to the unique ways which people peruse their ways. People’s unique styles of life were formed to a considerable extent during the first five years of life, and also were a reaction to people’s inferiority, real or imaged. Therefore, Martin’s unique style of life was formed in his early childhood. He was raised in a low socioeconomic status family, and his parents were working class and didn’t get the higher education. So he studied hard at school and had excellent achievement in academy. Moreover, he had a good job and made a lot of money, also had a good reputation. 4. Did Martin have a high or low level of social interest? What does this imply about his personality and adjustment? What is the cause of this level of social interest? From the description, I think Martin had low level of social interest. This implied that Martin was not good at cooperation with people, less altruistic and helpful, and not well-adjusted socially. I think the reason why Martin had low level of social interest was that he didn’t get enough love and care from his parents. In the description, Martin’s mother married his father just because of pregnancy, not because of love, and she didn’t really love Martin either. So neither Martin’s physical or psychological needs could be satisfied from parents. He felt alone and didn’t feel love from his family. Thus I think this was the cause of Martin’s low level of social interest. 5. What did Adler say about birth order that would apply to Martin’s life? Adler believed that each child was treated uniquely by its parents, and this special treatment was typically, but not inevitably, related to the child’s order of birth within the family. He thought that the oldest child was the center of attention in the family before the birth of other siblings, but the position would be replaced by other siblings’ birth, so little Martin might feel isolated and ignored after his brother or sister’s birth. On the other hand, according to Adler, the oldest child understood best the importance of power and authority because he or she has had undergone their loss within the family. Consequently, the oldest child would be highly supportive of, and depended on, authorities in later life and would be a person who tended to support the status quo. In this case, Martin was the oldest child in his family, so he knew how important the authority was. He left his first law firm even it was a well-know firm, and started his own law firm. He got the authority from his own firm and tried to keep this authority in his life.

How does Osama Bin Laden fit into Maslows Hierarchy of needs essays

How does Osama Bin Laden fit into Maslow's Hierarchy of needs essays At the bottom of Maslow's needs are the physiological needs. Since Bin Laden's family was extremely wealthy, it can be assumed the he has never had to focus his personality needs on food and shelter. Married and surrounded by dedicated followers, it seems likely that he has not been Once those basic physiological needs have been met, most people concern themselves with other life needs: safety, security, a stable home life, an orderly environment that makes sense to them. Certainly Bin Laden grew up with most of those needs met. He also presumably has them in his adult life. Even though he is the single most pursued accused criminal in the world, he seems to have managed to keep himself safe and secure, and it is likely the run, because his life style suits his purposes. Next, Maslow addresses our need for love and friendships. Certainly Bin Laden is surrounded by people who value him, and he certainly can feel that he is an important part of a group his terrorist organization. Although some of his birth family have disowned him, others apparently have not, and he heads a large organization all of whose members admire him and value their association with him. It does not seem likely that he would feel lonely or alienated. Although the larger world has rejected him, that is part of his desire. He does not want to be accepted by most of the world, and the people who do matter to him other terrorists who share his beliefs and ideals clearly embrace him. It seems likely that Bin Laden has a strong feeling of high self- esteem, as he is committed to his path of life and from his point of view has been very successful. Combining his strong beliefs, his wide acceptance among others of like minds, and his striving to excel, he may even enjoy a kind of self-actualization that most of us would view as twisted. However, it suits Bin Laden and his personal de ...

Impacts of Colonialism on U.K Essay Example | Topics and Well Written Essays - 500 words

Impacts of Colonialism on U.K - Essay Example During the beginning of the 20th century, England had its control over maximum areas of the world under its empirical power (College of New Jersey, â€Å"British Empire†). In the first three decades of the 19th century, the UK adopted the policy to rule Cape Colony. In 1795, the UK seized the Cape from the Vereenigde Oost-Indische Compagnie (VOC). After a few years, British in 1803 returned the Cape to the Dutch government peacefully. In the year 1806, when the Napoleonic Wars began, the British captured the Cape in order to protect the sea route in order to protect their route to their Asian empire (U.S. Library of Congress, â€Å"British Colonialism†). During the late 18th century, the British government was in need for a base in the zone of Malaysia when they controlled India. Under the command of Francis Light in 1786, the British had colonized Penang and established Georgetown and they took over the Province of Wellesley in 1800. During the period of 1819, a trading post was founded at Singapore (Lambert, â€Å"A Brief History of Malaysia†). From the episode of the colonization of the Cape, the British government gained a lot. They focused upon the policy of the labor market. They utilized mass force of Cape for the purpose of the labor source for the British government. The colonial rule of the UK over the Cape in South Africa was strong and they colonized Cape due to certain reasons. The reasons were to secure the routes of their trade secrets, acquire huge labor and maintain the political power over most parts in the world. Primarily the labor supply was concentrated in this region (U.S. Library of Congress, â€Å"British Colonialism†). From the colonization of Malaysia, the British government had set up their trade bases in Singapore and around the coasts of Malaysia. They acquired Malaysia’s rubber industry and traded in the

Making lessons accessible for English language learners Essay

Making lessons accessible for English language learners - Essay Example In this case the goals consist of i) helping the non-speaking English students overcome their lack of confidence in giving proper expression to their views in response to a given topic or issue in English language ii) knowing how to begin with critical approach iii) being able to convey their views to others iv) helping them avoid summarization. The whole process of teaching this particular lesson would help in reinforcing their analytical thinking (Schneberger). The modifications I find most essential to be done for specifically the English language learners is in the topic on which they are to write in response. I would like to bank on the visual sense as I believe it is the most effective way of getting a response. Therefore I would present a descriptive picture before my students and ask them to write down a few lines on what they see in the picture. At this point I think it is important for the teacher to explain the meaning and importance of ‘Response Writing’ to the students as they are not so familiar with the English language. They are also to be made aware of the stages of ‘Response Writing’ (Schneberger). I feel that it would be needful to ask the students to share their observation with the rest of the class. They are to be asked to read aloud individually. This would not only help the teacher check upon their reading skill but also whether they have got down the points correctly or not? The teacher should then ask them to note down the similarity in the points between each other (Schneberger). After listening to the students, the teacher is to write the word ‘summary’ on the board (Schneberger) in order to point out specifically the difference between ‘critical response’ and ‘summary’. It is always better to write out than tell while teaching. By writing down the difference and definitions the students get a better understanding of the meanings. The teacher should distinctly point out to the students

Integration - Causal Chains and Strategy Essay Example | Topics and Well Written Essays - 1000 words

Integration - Causal Chains and Strategy - Essay Example Under the following section, each quadrant is briefly discussed, followed by their causal linkages and last part of this article provides a nine-step framework to develop such balanced scorecard system in technology-based organization. Analysis As mentioned-above balanced scorecard, system works based on four perspective such as organization capacity, internal processes, customers and financial perspective. Organizational capacity relates to the concept of increasing the capacity of the business such as production capacity, material capacity, project capacity, etc. In order to meet the demands from the customers, it is essential that the organization must have sufficient capacity to fulfill that order. Internal processes relates to the concept of how effectively the organization can perform a certain job or fulfill customer’s demand for instance. How departments are managed and integrated, how internal controls work together, etc. are the core issues highlighted through intern al processes. Third perspective solely relates to customers. Customers are most important stakeholders of any business such that their preferences, tastes, dispositions, likes and dislikes, etc. paly a profound role in developing the most adequate business strategies. From this perspective, the organization needs to assess the current demands of the customer, how to satisfy them, how to retain their loyalty, how to provide after-sales services to them, etc. are focused through this perspective. Last, but probably the most important perspective of a balanced scorecard is the financial perspective such that every organization needs to improve its financial performance and position. For this purpose, the organizations use financial ratio analysis as a technique of evaluating their performances. Some important financial ratios under this perspective include return on investment, return on assets, return on equity, net profit margin, etc. Challenges faced by Technology Organizations Befo re establishing the causal linkage between the balanced scorecard perspectives within the technology organizations, it is of crucial importance that the characteristics of technology organization are studies first. Technology organizations are the ones which can be differentiated from other organizations especially in terms of challenges that they face (Rohm and Moinoski, n.d.). Following are some of the typical challenges faced by the technology-based organizations: Their product cycles constantly and rapidly contract. They constantly have to recruit, retain and reward the best technology talent. These organizations have to make and communicate the timely and critical decisions relating to product development. They have to track the customer’s perspectives such that they have to track the customer’s featured demands and their corresponding models. They have to deal with disruptive technologies which can, not only wrap up the product but the entire business. Integratio n of Causal Chain Keeping in mind the above challenges that technology-based organizations face, the balanced scorecard system is developed through a strategy. The strategy can be referred as integration of causal chain between these four perspectives of balanced scorecard (BSI, 2007). This strategy aims at developing the organizational capacity first. The investment in organizational ca

A Child Protection Social Worker Social Work Essay

A Child Protection Social Worker Social Work Essay Upon a social service department receiving the initial referral a decision will be made by the manager whether to act upon the information received. In the case of Samantha and her children the referral offers enough information to meet the criteria for a social worker to undertake an Initial Assessment. Local Authority (Social Services) Act (1970), places a duty on authorities to provided social services. It sets out a legal framework for local authorities and social work responsibilities in a statutory role, this being continually updated. In the case of Samantha and her children the authority in which the family reside in have a legal responsibility to undertake an assessment and a corporate obligation to provide services to children in need and adults, if necessary. Powers grant Local Authorities to act in certain ways but there is no obligation to do so and there is a degree of discretion of how powers are applied. In relation to the case study, the social worker would have the power to initiate contact with the family and other professionals they felt may provide valuable information to assist in the assessment process (Brammer, 2010). When carrying out the assessment, the social worker would refer to legislation which governs what they can do in order to safeguard children. The Children Act, (1989) sets out that the welfare of the child is paramount, the child being the primary client (Brayne Carr, 2010). The Act provides the legal framework within which social work practice with children and families is situated and promotes the family as being the best place for the child to be brought up in, where it is safe and possible to do so. The Act also includes principals with regards to welfare, childrens rights and introduced the concept of parental responsibility (Children Act, 1989, s.3, Brammer, 2010). The Act states that the local authority is required to provide services for children in need, their families and others (Children Act 1989, sec.17) and investigate if they have reasonable cause to suspect a child is suffering or is likely to suffer from significant harm (Children Act 1989, sec.47). It also gives the authority the power to apply to the court if they believe the child is suffering or is likely to suffer significant harm, placing the child in local authority care (Children Act, 1989, sec 31). The Children Act (2004) was introduced following an enquiry into the death of Victoria Climbe by Lord Laming. The Government responded by producing a green paper Every Child Matters and Wales Rights to Action, this led onto pass the Children Act 2004. Its main focus is to highlight the importance of multi-agency working placing a duty on local authorities and their partners including health, schools, and the Police to work responsibly and collaboratively to promote the wellbeing and safety of children. A common assessment framework was introduced so that social workers and partner agencies could provide better preventative support for families deemed not to reach child protection thresholds. The introduction of the Common Assessment Framework (CAF) considers a holistic view of the child and their family, incorporating the childs developmental needs, parenting capacity and family and environmental factors (Brammer, 2010). In relation to the case study there have been concerns regardin g Callum and Claudia from their school. The Education Act 2002 also includes a provision requiring school governing bodies, education authorities and further education institutions to safeguard and promote the welfare of children (NSPCC, 2012). Using the CAF will also allow the social worker to explore family issues concerning the childrens father, older siblings and immediate family. The CAF will also consider the families identity and promote any welsh language needs in accordance with the Welsh Language Act 1993 (CCW, 2002, 1.6). In response to the Children Act, 2004 the Welsh Assembly Government (WAG) produced, Safeguarding Children; Working Together under the Children Act 2004, providing local authorities with guidelines and descriptions of roles of partner agencies and focused on working responsively and proactively (WAG, 2004). The All Wales Child Protection Procedures, 2008 were also introduced upon recommendations from Lord Lamings report requesting that governments strengt hen their child protection procedures (WAG, 2008). The Human Rights Act 1989 also plays an important role in the social work assessment. Professionals are required to uphold and defend the rights of individuals whilst seeking to meet their needs. The Act has also heavily influenced the Disability Discriminations Act, 2005 and Equality Act, 2006 2010 (Brayne Shoot, 2010). Wales have also implemented their own introducing The Equality and Human Rights Commission in 2007 (BASW, 2011). This legislation will be relevant when taking into account the needs of Samantha in relation to her historical mental health problems. The United Nations Convention on the Rights of the Child 1989 (UNCRC), is an international agreement that protects the human rights of children under the age of eighteen and recognises children as possessing rights on equal footing with adults. This along with the Human Rights Act 1989 is instrumental in the CAF as it requests that the child is to be seen and a consideration of their needs and wishes recorded. The children, along with Samantha have the right to have their wishes and feelings known in relation to any assessment or intervention undertaken (Children Act, 1989 sec. 22 Human Rights Act, 1989, UNCRC, 1989 article 12). There are also national bodies that provide social care professionals with common guidance on their practice. These are the British Association of Social Workers (BASW), the General Social Care Council (GSCC) and in relation to Wales the Care Council of Wales (CCW) and the National Occupational Standards of Social Work (NOS). The legislation and guidance discussed will assist the social worker in undertaking an initial assessment of Samantha and her children. Using the CAF will help to establish what support if any the family requires. The assessment should show the strengths, difficulties and impact of the situation on the family (Parker Bradley, 2008). The social worker will need to determine from an analyses of the assessment whether the children are children in need (Children Act, 1989 sec. 17) or children in need of protection (Children Act 1989 sec.47). The worker will be required to work alongside other professionals in a multi-agency approach in particular education, possible mental health agencies and recognising that the children, in particular Callum maybe a young carer (Children Act, 2004, Disability Discrimination Act, 2005, Equality Act, 2006 2010, Carers Recognition Services Act 1995). The social worker would also be abiding by statutory bodies codes of ethics in recognising and promotin g services users rights, working open and honestly and respecting their views and wishes (BASW, 2012 CCW, 2002, CCW, 2003 GSCC, 2002). Section B. Upon receipt of this further information from the Health Visitor, the Local Authority would have a duty under the Children Act 1989 to initiate Sec.47 enquiries. The Children Act 1989 Sec. 1b states that, If the local authority have reasonable cause to suspect that a child who lives or is found in their area is suffering or is likely to suffer significant harm. The authority shall make or cause to be made such enquiries as they consider necessary to enable them to decide whether they should safeguard or promote the childs welfare. Following this legislation the social worker in consultation with a senior manager would undertake a strategy discussion at the earliest opportunity. Information would be gathered from the referrer and also the consultant paediatrician and discussed with the police; this can be done via telephone (WAG, 2008). Any other relevant information about the family should also be shared during this time. Information should be given to the Police regarding Samanthas partner David and checked against the police national database, although this should have been done as part of the Core Assessment process. Pertinent questions should be raised regarding the consultants assessment of the alleged burn marks; How did the hospital visit come about? Why did the consultant not make the referral themselves? Was Claudia sent home after the examination? The strategy discussion should agree the course of action to be taken; if a medical examination is needed, whether the investigation would be a single or j oint agency response (social services alone or in conjunction with the police) and what information should be shared with the family at this time. It should also take into consideration the needs of any other children who may be affected, in this case Claudias brother Callum (WAG, 2008). As part of the Sec.47 enquiries it is a statutory requirement for the social worker to see the child unless there is enough evidence and information to proceed (Children Act, 1989 s47.4). It is important that any discussions with children are done in a way that minimises the distress and maximises the likelihood of them providing clear and accurate accounts (Brayne Carr, 2010). Due to the seriousness of the information regarding Claudia and Callum and the presence of a potential non accidental injury, the decision needs to be made whether emergency action is needed. This may be because access to the child is being refused; parent is refusing a medical examination or deliberately delaying enquiries. Legal advice should also be available through the local authoritys legal service (WAG, 2008). Following this there are a range of options available to the local authority for securing the protection of Claudia and Callum. Samantha may agree to David leaving the household and sign a safe-care agreement for him not to have contact with the children. Although this may not be possible as there are allegations of a non-accidental injury with no reasonable explanation to the cause. Claudia and Callum may be cared for be extended family subject to safeguarding checks (WAG, 2008). The children may be looked after by the local authority with parental agreement (Children Act, 1989, sec. 20). Social services can also make an application to court for an Emergency Protection Order, allowing them to accommodate the children for up to eight days without parental consent. The last option is Powers of Police Protection whereby the Police have the power to remove the children (WAG, 2008, Williams, 2008). Although there must be no delay in safeguarding children who are at risk, it is important to be aware of the possible trauma and disruption such proceedings may have on the children involved and every effort must be made to minimise this. Section C. Under the Human Rights Act 1998, Claudia has the right to respect for a family life and privacy and local authorities have to justify any interference in family life with any involvement being necessary and proportionate (HRA, 1998 article.8). This is also supported by the UNCRC 1988. These rights can be compromised when there are concerns regarding child welfare and child protection. Local authorities exercising their legal duties and functions must do so without violating the rights of children and their parents. In relation to Claudia and the escalating concerns for her welfare and safety, social services are legally justified in intervening in family life if it is to protect her health and wellbeing (Laird, 2010). This must only happen in accordance to the law, Children Act 1989 and must not interfere with the convention law, beyond what is absolutely essential to prevent some kind of harm (Laird, 2010, p150). The case study highlights incidents of escalating seriousness with regards to Claudia, she has suspected non accidental injuries and her brother Callum has alleged that David has slept in her room on occasions, this alongside on-going issues of neglect. This information would be sufficient to trigger compulsory measures by the local authority under sec.47 Children Act 1989. Section 47 enquiries and powers of police protection to remove children in an emergency do not require a court order. A court order ensures that there is a forum in which the rights of those who are involved and what is needed in order to safeguard the child can be considered by a judge, this ensures that in most cases compulsory measures will not normally breach Article 8 ECHR (Williams, 2008). In situations of extreme urgency where the child is at risk of significant harm, relating to the case study and the non-accidental injuries to Claudia, the local authority can apply to the court for an emergency protection order (EPO) which can be granted by a single magistrate without the prior knowledge of the parents (Laird, 2010). Courts must regard Claudias welfare as paramount and must be satisfied that making an order is better than making no order at all. Local authorities must look to identify family placements for the child before opting for foster care. Laird (2010) uses an example of X Local Authority v B (Emergency Protection Orders), whereby the local authority where the children lived did not take into account the viability of placements with extended family members before applying for an EPO. This contravening article 8, as removing the children from all their relatives into foster care is the most extreme interference in family life. In relation to Claudia, if she was to be removed from the care of her mother, into foster care and possibly separated from her brother, without giving prior consideration to any immediate or extended family may breach her rights under article 8 or the Human Rights Act 1998 and UNCRC 1989. Working in partnership with professionals during child protection procedures is guided through legislation and agency roles, powers and duties. The difficultly can be working in partnership with parents especially when they are not in agreement with the process. In child protection work the relationship between parent and social worker can be fraught and tightly directed by legal and procedural requirements (Pinkerton Devaney, 2009). If Claudia was to remain in the care of her mother, she would be the subject of an Initial Child Protection Conference. WAG (2008) states that where possible parents and others with parental responsibility should be invited to attend and helped fully to take part. They also have the option of bringing an advocate or legal representative. Family members and professional should be able to share information in a safe and non-threatening environment and for family members to speak to the chair in the absence of other relatives, especially if there is a risk of violence or intimidation (Brammer, 2007 CCW, 2002, 1.3, 3.1). This could be apparent in relation to Samantha if Claudias father having parental responsibility also attended the conference. The social worker should also meet with the parents beforehand to share the report which highlights the concerns bringing them to conference. The chair should also meet before the conference to ensure that they understand the procedure and purpose of the event (Brammer, 2007). At six years old, Claudia is able to voice her wishes and feelings and this should be done through direct work with the social worker, not to obtain a disclosure about possible abuse, but to build a trusting relationship between worker and child with the child being able to feel safe and secure whether they remain at home or in placement (Milner OByrne, 2009, CCW, 2002 1.2, 2.1 UNCRC, 1989, article 12). Studies show that children are capable of understanding complex situations and are able to construct ways of dealing w ith them, so an honest explanation of the situation is more productive, however young they are. However issues can arise when the child knows only too well the seriousness of the situation. Claudia may hesitate and feel unable to talk freely as she may worry how the information discussed will be used. If she is to return home to her mother, she may be questioned over what she has said (Milner OByrne, 2009). Although the worker will respect the confidentially of Claudia, it is not wholly guaranteed and this should be explained to her in an age appropriate manner, ensuring her understanding (BASW, 2011, CCW, 2002, 2.3, Children Act 2004 sec. 12). Any disclosures from Claudia which could potentially put her or others at risk will require compulsory action under sec. 47 Children Act 1989. Whilst working with Claudia and her family the social worker will be guided by legislation and statutory guidance which will on times conflict with human rights and ethical values. The very nature of child protection work can be oppressive with a distinct power imbalance. The power and status is firmly with the worker who is advantaged by being someone of the authority. It is also likely to be reinforced by the parents and children being disadvantaged by gender, class, race and age (Pinkerton Devaney, 2009). Childrens rights to protection are clearly laid out in international and domestic law (Human Rights Act, 1998, UNCRC, 1989, Children Act, 1989/2004) and promoted in national and international codes of ethics and practice guidance (International Federation of Social Workers, British Association of Social Workers Care Council of Wales). In relation to Claudia the Human Rights Act 1989 and UNCRC 1989 article 8, supports her right to remain in the care of her mother. In contrast to this article 19 ensures that Claudia is protected from violence, abuse and neglect by her parents or anyone else who looks after her. Article 9 goes on to support the removal of the child for their own protection but promotes contact with parents if safe to do so (UNCRC, 1989). The social worker would encounter ethical dilemmas during her work with Claudia and have to balance her needs and interests where they may conflict with those of others, especially other professionals, and child protection issues in regards to her safety (CCW, 2002, BASW, 2011). The worker would apply the relevant codes of ethics and practice around issues of information sharing and confidentiality (CCW, 2002 2.3, 6.5, 6.7). However in relation to child protection and the law, the welfare of the child would always be paramount over any rights of confidentiality (Children Act, 1989). The social worker would need to give due consideration regarding Claudias life-skills and knowledge and promote her participation in the process that concerns her (BASW, 2011, 2.1, CCW, 2002, 1.1, 1.2, 3.1). Although consideration of a childs wishes and feelings does not impose a duty to act upon them (Brayne Preston-Shoot, 2010). Overall this assignment highlights the complex nature of social work in one of the most demanding areas, child protection. The need to follow legislation and statutory guidance and to balance that with the individuals human rights, taking into consideration ethics, non-oppressive and anti-discriminatory practice can, on times be a highly contentious process but one that hopefully has the desired outcome, the child has been protected and is safe from harm. Children have a right to live in this world and be protected from violence, abuse and neglect and child protection should be the business of everyone. There have been incidents when things have gone wrong and unfortunately children have died as a result, lessons have been learnt and law and policy nationally and internationally has been changed to hopefully prevent this in the future.

Personal Narrative Adults Negative View of Teenagers :: Papers

Personal Narrative Adult's Negative View of Teenagers There is a significant difference of opinion about teenagers today that comes from teenagers themselves and the adult population. A good majority of the young people today view themselves as relatively responsible people. A lot of them are inquisitive and are eager to learn new things. Many are committed to a drug-free lifestyle, and there are a lot of students who achieve very high grades. Most adults' view on teen behavior is very different. Of course, there is a percentage of youth that is very immature, lazy, unorganized, disrespectful, and careless, etc. (The list could go on and on.); but, unfortunately, it is the bad qualities that stay in the minds of many adults and elders. There are few teenagers today who will openly admit to their bad habits or behaviors. Maybe they can’t keep a clean room, or maybe they have a very difficult time remembering to do their homework every night. It may even be possible for them to spel things inkirectly. I am a strong believer in the fact that doing your best is all that matters, yet teens must also be aware of the fact that â€Å"good enough† isn’t. Everyone makes mistakes, but you’re judged many times on how few mistakes you actually make. I’m sure that nobody would go to a job interview ready to tell the boss of the company: â€Å"Well, let’s face it. I’m not very productive, and I rather be watching The Simpsons right now.† Who really is willing to tell someone about his or her personal flaws? In reality, it takes someone to offer a â€Å"wake up call† sometimes to make us aware of when we’re not doing something correctly. Today’s teens need to be criticized, but they also need to be encouraged when they are doing something right as well. They need to be told when they could be a little more responsible, and they could use some advice occasionally on how to manage their time. Equally as important, I think a teenager needs to be told when they solve a problem correctly or produce an excellent piece of work. Encouragement will only bring about repetition; and, maybe after being told that they’ve done something right, today’s teens will be able to much more easily say: â€Å"I’m responsible.† It is disappointing to come across such an abyss between the viewpoints of elders and teenagers on teen habits.

The Scarlet Letter essay: Why was Dimmesdale’s Suffering Worse Than Hester’s?

In Nathaniel Hawthorne’s The Scarlet Letter, Mr. Dimmesdale’s greatest secret is his sin of adultery with Hester Prynne. Mr. Dimmesdale feared that his soul could not bear the shame of such a disclosure because of his status as an important moral figure in society. As a result, he keeps his identity a secret as Hester is publicly ridiculed for their act of adultery. Despite his choice of guilt over shame, Mr.Dimmesdale’s private self-inflicted inner turmoil that is exacerbated by the tortures of Roger Chillingworth, ate away at his physical being and mental state, causing much greater suffering than Hester’s public shame of the scarlet letter. Much of the suffering, physical and mental, that Arthur Dimmesdale endures is self-inflicted due to the immense weight of his guilty conscience. Fearing that he would not be able to bear the punishment from the public, he chose to remain anonymous in his sins. In doing so, he underestimated the amount of psychologica l torture and suffering he would endure by his own hand.By only confessing to himself, he does not fulfill the requirements of repentance, for there is no one to forgive him but himself. He does not allow his conscience to be cleansed, and therefore must live with his sins. His emotional pain leads him to inflict pain with a â€Å"bloody scourge†, which he had often â€Å"plied on his own shoulders†(99). He inflicts great physical pain in addition to his mental torture. In the early Christian church, self-flagellation was imposed as a means of penance and purification for disobedient clergy and laity.In the bible, Proverbs relates that blows â€Å"cleanse away evil† and stripes wash the heart (Prov 20:30). He is trying to redeem and cleanse himself without confession, but this is impossible. Through this self-mutilation, he attempts to relieve his mental pain by inflicting self pain; he find this unsatisfying because he still neglects to partake in the most impo rtant aspect of redemption, confession. He also rigorously fasts, as another attempt to cleanse his soul. Hawthorne writes, â€Å"it was his custom, too, as it has been that of many other pious Puritans, to fast, – not, however, like them†¦Ã‚  but rigorously, and until his knees trembled beneath him, as an act of penance†(99).Religiously, fasting is commonly used as a form of purification and focus on spirituality. Once again, he uses bodily pain as an attempt to relieve his mental suffering. By participating in this unsuccessful cleansing, he only subjects himself to greater psychological torture; what he studied and knew to be a cure of guilt and sin only amplifies his own. The situation becomes hopeless when his ways fail him, and this eats away at his religious beliefs, which are the basis of his entire life.He faces an entire identity crisis, and this is something Hester never had to endure. Yes, she withstood her own share of loneliness and suffering, but ne ver to the extreme where she turned to self-mutilation to relieve herself. He attempts to redeem his tarnished soul through various acts of contrition, but all is in vain because it is all done without a confession. His torture is all within himself; he is his own shunning, gossiping townspeople and his own rock-flinging children. There is nowhere for him to hide.He is fully absorbed by his sins and they eat away at him. Hester, who’s publicly tortured by others while in town, though it might be equally as hurtful at that time, is still lesser than Dimmesdale’s suufering. Hester has an escape route. She has the refuge of her home outside of town, where she can get away from the gossip and scorn. She also publicly embraces her accountability in the affair, which allows her to accept the punishment, move on, and make something good out of it. Hester becomes a maternal figure for the community as a result of her experiences.She cares for the poor and brings them food and clothing. By the end of the novel, the shame of the scarlet letter is long gone. She doesn’t owe anything to the townspeople anymore. Some even forget what the scarlet A stands for. Dimmesdale, on the other hand, as a well-respected minister, stands at the center of his community, being the advocate of religious and moral standards of that Puritan society. He must remain in town, outwardly preaching to others about piety and remaining sinless, and internally feeling like an imposter.Dimmesdale realizes his fault in hiding his sin, but his desire to repent is repeatedly overcome by his craving for public approval. He is their moral compass, yet he himself is lost. This drives Dimmesdale to further internalize his guilt and self-punishment and leads to still more deterioration in his physical and spiritual condition. Because of Dimmesdale’s decision to remain anonymous, he unconsciously creates a duality in personality within himself that results in the deterioration of his mental well-being.Dimmesdale, as the revered town minister, must keep up this dichotomy in personality; he is constantly praised for his goodness and asked for moral and spiritual advice, while he is tumultuous inside. Hester is free to be whom she pleases. The townspeople do not believe Dimmesdale’s protestations of sinfulness. Given his background and his fondness for rhetorical speech, Dimmesdale’s congregation generally interprets his sermons metaphorically rather than as expressions of any personal guilt.He plays the literal meaning of his words off against the context in which he speaks them. Dimmesdale's tone of voice, his position as minister, his reputation as a saintly man, and the genre of the sermon allow him to say, â€Å"I am the greatest sinner among you,† but be understood to be humble, pious, and godly. His inner self is desperately trying to confess, but his self concerned with public appearance only allows him to do it in a way that he won t be taken literally. He is essentially at war with himself.By remaining secret, Dimmesdale doomed himself to much greater suffering than if he were to be publicly condemned with Hester because he subjected himself to years of self-torture and an unyielding quest for unobtainable repentance. The role of Roger Chillingsworth in Dimmesdale’s torture amplifies the pain of the sin, causing much greater suffering than Hester who only interacted with the doctor on sparse occasions. As his name suggests, Roger Chillingworth is a man deficient of human warmth. His twisted, stooped, deformed shoulders mirror his distorted soul.Under the guise of a new doctor in town with wholesome intentions towards the young minister and his health, Chillingsworth gains his trust and they move in together forming very peculiar codependent relationship. Chillingworth needs Dimmesdale to nourish his intellect and to be the object of his obsessive desire that he can control and ultimately destroy; Dimme sdale needs Chillingworth to keep his guilt alive, the constant provoking from the doctor for Dimmesdale to reveal his inner sin forces Dimmesdale to be constantly reminded of his transgressions. Chillingworth is like a leech. He sucks Mr.Dimmesdale’s life force out of sick need for reparation for Dimmesdale’s actions against him. Dimmesdale is subconsciously aware of his dependence of Chillingworth, for he cannot and does not break away. Their relationship is described in this quote, â€Å"Nevertheless, time went on; a kind of intimacy, as we have said, grew up between these two cultivated minds, which had as wide a field as the whole sphere of human thought and study to meet upon; they discussed every topic of ethics and religion, of public affairs, and private character; they talked much, on both sides, of matters that seemed personal to themselves..â€Å"(P#). Chillingworth lived and thrived off the pain and guilt he constantly inflicted on Dimmesdale, and in a t wisted way Dimmesdale relied on this psychological torture to further his self-inflicted search for forgiveness. The role of Roger Chillingsworth in Dimmesdale’s torture intensifies Dimmesdale’s suffering, causing Dimmesdale to endure vastly more than Hester who was able to avoid the evil doctor. Some argue that it was Hester who suffered the most throughout the novel. They say that because of her crime Hester became secluded from the other people in her society.They exemplify this with the quote, â€Å"Who had been familiarly acquainted with Hester Prynne, were now impress as if they beheld her for the first time was the Scarlet Letter, so fantastically embroidered and illuminated upon her bosom. It had the effect of a spell taking her out of the ordinary relations with humanity and enclosing her in a sphere by herself. â€Å"(61). She became lonely, and the scarlet letter was a burden that Hester had to carry everyday of her life, and the symbol, which secluded her from any other human being.It caused Hester to be ostracized, but Dimmesdale's cowardice in not confessing lead ultimately, to his death. Hester had a horrible punishment: she had to wear a scarlet letter for the rest of her life. But Dimmesdale's internal struggle with his own cowardice and guilt was far worse than a scarlet letter. He suffered the most as he constantly punished himself for his sin. Although Hester suffered the public punishment she dealt with it well and took it in stride, ultimately creating a positive role for herself in the community and transforming the meaning of the scarlet letter.She was able to make amends and in time through good deeds, change the meaning of the scarlet letter from â€Å"adulteress† to â€Å"able†. Dimmesdale on the other hand, has to always bear their sin inside of him never allowing it to become public. He was never given the opportunity to make peace with himself. Instead of taking his penance publicly he does it private ly. He was forced to continue to bear his private shame, while Hester was able to make peace with herself because she was strong enough to take her punishment, and grow despite of it.Suffering is commonly seen as an unconscious effort to ease painful feelings of guilt. Arthur Dimmesdale's choice of guilt over shame led him to experience a great deal of physical and emotional suffering. Hester admitted to her sin and had a clear conscience, which allowed her to move on with her life and grow as a person. Mr. Dimmesdale’s choice of anonymity in not confessing his wrongdoing to the public, led to his suffering through the guilt of his sin, a pain that was only aggravated by the tortures of Roger Chillingworth, and ultimately resulted in his painful and tragic death. The Scarlet Letter essay: Why was Dimmesdale’s Suffering Worse Than Hester’s? In Nathaniel Hawthorne’s The Scarlet Letter, Mr. Dimmesdale’s greatest secret is his sin of adultery with Hester Prynne. Mr. Dimmesdale feared that his soul could not bear the shame of such a disclosure because of his status as an important moral figure in society. As a result, he keeps his identity a secret as Hester is publicly ridiculed for their act of adultery.Despite his choice of guilt over shame, Mr.  Dimmesdale’s private self-inflicted inner turmoil that is exacerbated by the tortures of Roger Chillingworth, ate away at his physical being and mental state, causing much greater suffering than Hester’s public shame of the scarlet letter. Much of the suffering, physical and mental, that Arthur Dimmesdale endures is self-inflicted due to the immense weight of his guilty conscience. Fearing that he would not be able to bear the punishment from the public, he chose to remain anonymous in his sins. In doing so, he underestimated the amount of psycholog ical torture and suffering he would endure by his own hand.By only confessing to himself, he does not fulfill the requirements of repentance, for there is no one to forgive him but himself. He does not allow his conscience to be cleansed, and therefore must live with his sins. His emotional pain leads him to inflict pain with a â€Å"bloody scourge†, which he had often â€Å"plied on his own shoulders†(99). He inflicts great physical pain in addition to his mental torture. In the early Christian church, self-flagellation was imposed as a means of penance and purification for disobedient clergy and laity.In the bible, Proverbs relates that blows â€Å"cleanse away evil† and stripes wash the heart (Prov 20:30). He is trying to redeem and cleanse himself without confession, but this is impossible. Through this self-mutilation, he attempts to relieve his mental pain by inflicting self pain; he find this unsatisfying because he still neglects to partake in the most i mportant aspect of redemption, confession. He also rigorously fasts, as another attempt to cleanse his soul. Hawthorne writes, â€Å"it was his custom, too, as it has been that of many other pious Puritans, to fast, – not, however, like them†¦But rigorously, and until his knees trembled beneath him, as an act of penance†(99). Religiously, fasting is commonly used as a form of purification and focus on spirituality. Once again, he uses bodily pain as an attempt to relieve his mental suffering. By participating in this unsuccessful cleansing, he only subjects himself to greater psychological torture; what he studied and knew to be a cure of guilt and sin only amplifies his own. The situation becomes hopeless when his ways fail him, and this eats away at his religious beliefs, which are the basis of his entire life.He faces an entire identity crisis, and this is something Hester never had to endure. Yes, she withstood her own share of loneliness and suffering, but ne ver to the extreme where she turned to self-mutilation to relieve herself. He attempts to redeem his tarnished soul through various acts of contrition, but all is in vain because it is all done without a confession. His torture is all within himself; he is his own shunning, gossiping townspeople and his own rock-flinging children. There is nowhere for him to hide.He is fully absorbed by his sins and they eat away at him. Hester, who’s publicly tortured by others while in town, though it might be equally as hurtful at that time, is still lesser than Dimmesdale’s suufering. Hester has an escape route. She has the refuge of her home outside of town, where she can get away from the gossip and scorn. She also publicly embraces her accountability in the affair, which allows her to accept the punishment, move on, and make something good out of it. Hester becomes a maternal figure for the community as a result of her experiences.She cares for the poor and brings them food and clothing. By the end of the novel, the shame of the scarlet letter is long gone. She doesn’t owe anything to the townspeople anymore. Some even forget what the scarlet A stands for. Dimmesdale, on the other hand, as a well-respected minister, stands at the center of his community, being the advocate of religious and moral standards of that Puritan society. He must remain in town, outwardly preaching to others about piety and remaining sinless, and internally feeling like an imposter.Dimmesdale realizes his fault in hiding his sin, but his desire to repent is repeatedly overcome by his craving for public approval. He is their moral compass, yet he himself is lost. This drives Dimmesdale to further internalize his guilt and self-punishment and leads to still more deterioration in his physical and spiritual condition. Because of Dimmesdale’s decision to remain anonymous, he unconsciously creates a duality in personality within himself that results in the deterioration of his mental well-being.Dimmesdale, as the revered town minister, must keep up this dichotomy in personality; he is constantly praised for his goodness and asked for moral and spiritual advice, while he is tumultuous inside. Hester is free to be whom she pleases. The townspeople do not believe Dimmesdale’s protestations of sinfulness. Given his background and his fondness for rhetorical speech, Dimmesdale’s congregation generally interprets his sermons metaphorically rather than as expressions of any personal guilt.He plays the literal meaning of his words off against the context in which he speaks them. Dimmesdale's tone of voice, his position as minister, his reputation as a saintly man, and the genre of the sermon allow him to say, â€Å"I am the greatest sinner among you,† but be understood to be humble, pious, and godly. His inner self is desperately trying to confess, but his self concerned with public appearance only allows him to do it in a way that he won t be taken literally. He is essentially at war with himself.By remaining secret, Dimmesdale doomed himself to much greater suffering than if he were to be publicly condemned with Hester because he subjected himself to years of self-torture and an unyielding quest for unobtainable repentance. The role of Roger Chillingsworth in Dimmesdale’s torture amplifies the pain of the sin, causing much greater suffering than Hester who only interacted with the doctor on sparse occasions. As his name suggests, Roger Chillingworth is a man deficient of human warmth. His twisted, stooped, deformed shoulders mirror his distorted soul.Under the guise of a new doctor in town with wholesome intentions towards the young minister and his health, Chillingsworth gains his trust and they move in together forming very peculiar codependent relationship. Chillingworth needs Dimmesdale to nourish his intellect and to be the object of his obsessive desire that he can control and ultimately destroy; Dimme sdale needs Chillingworth to keep his guilt alive, the constant provoking from the doctor for Dimmesdale to reveal his inner sin forces Dimmesdale to be constantly reminded of his transgressions. Chillingworth is like a leech. He sucks Mr.Dimmesdale’s life force out of sick need for reparation for Dimmesdale’s actions against him. Dimmesdale is subconsciously aware of his dependence of Chillingworth, for he cannot and does not break away. Their relationship is described in this quote, â€Å"Nevertheless, time went on; a kind of intimacy, as we have said, grew up between these two cultivated minds, which had as wide a field as the whole sphere of human thought and study to meet upon; they discussed every topic of ethics and religion, of public affairs, and private character; they talked much, on both sides, of matters that seemed personal to themselves..†(P#).Chillingworth lived and thrived off the pain and guilt he constantly inflicted on Dimmesdale, and in a tw isted way Dimmesdale relied on this psychological torture to further his self-inflicted search for forgiveness. The role of Roger Chillingsworth in Dimmesdale’s torture intensifies Dimmesdale’s suffering, causing Dimmesdale to endure vastly more than Hester who was able to avoid the evil doctor. Some argue that it was Hester who suffered the most throughout the novel. They say that because of her crime Hester became secluded from the other people in her society.They exemplify this with the quote, â€Å"Who had been familiarly acquainted with Hester Prynne, were now impress as if they beheld her for the first time was the Scarlet Letter, so fantastically embroidered and illuminated upon her bosom. It had the effect of a spell taking her out of the ordinary relations with humanity and enclosing her in a sphere by herself. â€Å"(61). She became lonely, and the scarlet letter was a burden that Hester had to carry everyday of her life, and the symbol, which secluded her from any other human being.It caused Hester to be ostracized, but Dimmesdale's cowardice in not confessing lead ultimately, to his death. Hester had a horrible punishment: she had to wear a scarlet letter for the rest of her life. But Dimmesdale's internal struggle with his own cowardice and guilt was far worse than a scarlet letter. He suffered the most as he constantly punished himself for his sin. Although Hester suffered the public punishment she dealt with it well and took it in stride, ultimately creating a positive role for herself in the community and transforming the meaning of the scarlet letter.She was able to make amends and in time through good deeds, change the meaning of the scarlet letter from â€Å"adulteress† to â€Å"able†. Dimmesdale on the other hand, has to always bear their sin inside of him never allowing it to become public. He was never given the opportunity to make peace with himself. Instead of taking his penance publicly he does it privatel y. He was forced to continue to bear his private shame, while Hester was able to make peace with herself because she was strong enough to take her punishment, and grow despite of it.Suffering is commonly seen as an unconscious effort to ease painful feelings of guilt. Arthur Dimmesdale's choice of guilt over shame led him to experience a great deal of physical and emotional suffering. Hester admitted to her sin and had a clear conscience, which allowed her to move on with her life and grow as a person. Mr. Dimmesdale’s choice of anonymity in not confessing his wrongdoing to the public, led to his suffering through the guilt of his sin, a pain that was only aggravated by the tortures of Roger Chillingworth, and ultimately resulted in his painful and tragic death.

Free sample - The US Government Should Not be Funding Arts.. translation missing

The US Government Should Not be Funding Arts.. The US Government Should Not be Funding Arts.Introduction First, what does "funding" refer to? Funding can be either direct or indirect. The US government was funding arts in this country before 1965 but that it took in-direct forms, including land grants, tax exemptions to educational and cultural institutions such as museums, and tax advantages for private donations of art to the public. This paper delves more onto direct state funding of the arts. The US arts system has no single control but instead, has a variety of public subsidies composing of roughly 13% of the nation’s total investment in nonprofit arts groups. The National Endowment for the Arts-NEA is the largest single funder of the arts across America, but the majority of direct public funding still flows from a combination of other federal, state, regional and local agencies. NEA in 2009 had a budget of US$155 million.   Even before the creation of the NEA in 1965, the issue of government in funding of the arts had been a contested one. Some justifications for governme nt arts funding are found, but it is noted that in embracing these justifications inappropriate consequences may be occur. Thus, in this paper it is urged that we refrain from government funding of the arts because the effects of such funding, would be deleterious to the art world. Much government funding is aimed at what might be thought of as the preservation of culture. It supports museums and repertory companies and is intent on keeping our culture intact. Other objectives of government funding target community art centers, regional theaters, and school programs. And funding may also be directed to professional artists for the purpose of enabling them to produce new works of art.    Whereas funding of museums looks to the past of our culture, funding professional artists is futuristic.   The preservation of culture, of course, is involved with education, which falls under the jurisdiction of the state . More to that, though not clearly, art preservation keeps us aware of who we have been, which informs our practical decisions about who we shall become. Support for the production of modern day art can also be defended as educational but, bluntly, contemporary art is not our heritage yet; nor is it clear how much of it will be or how far it will stand time.   If the aesthetic value of contemporary art would be used to justify prospective arts funding, it also will have unfortunate consequence in that it only warrants the funding of certain kinds of art, the art of the beautiful, the sublime, and that expressive of psychically balancing qualities. If no further justification can be found, the ill consequence of this is that the state can only fund a certain typ e of art. Artists pursuing certain non aesthetic aims cannot be funded by the state. If the government places large investments behind one type of art, the evolution of the art world will undoubtedly be affect ed. Whole avenues of artistic development will appear less viable than the production of aesthetic art. And from the contemporary art world's point of view, this kind of arts funding might be regarded as having a regressive effect overall.    Another justification used by proponents of arts funding is that it may function as an economic stimulant, promoting prosperity by, for example, attracting tourists. As far as this funding can be pegged to the state of the economy, it would appear to be a legitimate course of action, since functioning of economy is related to the state responsibilities. It is often difficult to imagine the way in which grants to individual artists for new works as opposed to city art centers can spur economic growth. An economic growth argument identifies the value of arts funding not with aesthetic or artistic value, but as an economic instrument. But despite this, the argument seems acceptable, although it can only be mobilized under certain constraints. Where   arts funding is employed to stimulate tourism or some other form of economic activity in a given area, the state must be convinced that there is no alternative form of intervention of comparable cost would yield greater prosperity in that area. More to that, where national rather than local economy is at issue, the state must supply some rationale why it is undertaking to stimulate tourism in one geographical region rather than another.      Another justification put forward is connecting arts funding to   employment. If state funding is not forthcoming, then many artists will be unemployed. Unemployment is a genuine matter of concern to the state. Massive unemployment is one of the great tragedies of our society, and we must demand that the state do something about it. Artists do not constitute a group that is comparable to unemployed youth. Justice and equal opportunity do not seem to bear on the issue of artistic unemployment. For instance, I may not be able to support my family as an unemployed poet; but that does not mean that I can't do it in another way, say, as a cook or a copywriter. It does not fall under the state's responsibilities in regard to the unemployed extend to guaranteeing that everyone have the job he or she most desires. The case of artistic unemployment involves people not able to pursue the line of work they most like, while youth unemployment at large involves people excluded from the work force altogether. Fairness can be used to ground government arts support. If a given government subsidizes the building of sports arenas, then, in all fairness, arts production should also be supported. If the government facilitates the pursuits of sports fans, then it should, as a matter of treating people equally, also facilitate the pursuits of arts fans, perhaps by means of supporting the creation of new art. But what, in such a context, justifies the subsidizing of sports? If nothing does, then perhaps what is required is that neither sports nor the arts be subsidized. Of course, a subsidy for a sport might be defended on the grounds that it stimulates the economy of an area; but then arts funding can, in principle, be similarly defended. Again, it does seem correct to say that if a majority, call them sports fans, demand sports funding in the face of opposition by a minority, call them arts lovers, then fairness urges that the leisure activity of the latter group also be supported, though perhap s not to the same extent. The deeper question, however, is whether any leisure activity should be supported. The advancement of the leisure professions may just not be an area the state should enter at all.    One of the earliest arguments in favor of government support of the arts is that the arts perform a moral function.   If art can function as a means of improving morality, then the state is justified in supporting it. Some art enables us to see the world from a different perspective, thus not only promoting the acquisition of a formal requirement of morality, but also enabling us to understand situations of different classes, races, creeds, and genders. Art, then, can foster greater tolerance within society and thereby bolster the moral order. If we argue from these grounds then state funding on moralizing grounds will be justified ,but   then only to that art which will increase moral sympathies. This will require some serious   research into the moral importance of different kinds of art. Art that afford no moral uplift cannot be funded. This raises problems like those encountered in an earlier discussion of the aesthetics value. If the state is funding only certain kinds of art and it enters the art world, putting its resources behind only moralizing kinds of art, then there is a danger that the development of the art world will be skewed in a certain direction. This violates our understanding   that   art should be pluralist and   independent of considerations of social utility.    Public arts funding primarily benefits the already advantaged. An artist is a person engaged in one or more of any of a broad spectrum of activities   related to creating art, practicing the arts and/or demonstrating an art(Wikipedia). Artist should be able to use their rare skills to improve their well being.    There is also an argument that public funding is necessary to promote innovation and dialogue among diverse points of view, so that groups that want to use the fine arts to challenge the status quo and advocate their unpopular world views and lifestyles can have a forum. However, while the common good requires tolerating the expression of unpopular points of view, the fact that most people do not share them suggests that the common good may not be served by supporting their expression. Even if it is, the government has no more business providing subsidies for such purposes. Indeed, many unpopular world views and lifestyles are at odds with traditional theism, and subsidizing them while not subsidizing theism would give the former an unfair advantage. People who think the expression of an unpopular viewpoint desirable should be fund it themselves just as religious believers should support their churches and missionary activities. The argument that public funding is necessary because some people have great and rare gifts that, due to lack of a market, otherwise will be lost. That might be true but the common good of political society is limited. It is not the proper role of the U.S. government to pursue all human goods in every possible way, and therefore not its business to subsidize every gift that otherwise will be fruitless. Some argue that subsidizing what initially appeals only to a few are necessary to foster a wide variety of creative initiatives that will elevate popular taste and tomorrow serve the multitude. Whether the funded work elevates anyone’s taste is arguable, but even supposing it does, can this indirect contribution to the common good justify the subsidy? Moreover, while some creative efforts that initially appeal to few eventually serve the masses, most do not, and it is hardly possible to show that public funding of some portion of art work is necessary for future cultural development. There are other needs calling for public funding, and some, plainly more pressing than this- for example, better basic education for the very poor- will surely put it to fruitful uses. One cannot justify spending for a dim and uncertain result when there are many urgent and promising alternatives. A recent argument draws a distinction between to view points of culture, Culture provides the particular paintings, performances, and novels, designs, sports and thrillers that we value and take delight in; but it also provides the structural frame that makes aesthetic values of that sort possible and makes them values for us. This structural frame includes a wealth of associations, references, images, and contrasts, which, like language, supply us with the tools with which we forge and map our common life. It insists that it is better for people to have a complex and multifarious cultural framework and that we owe future generations at least as rich a cultural framework as the one we inherited. Both these values can be achieved by promoting the creation of innovative art. Government support in this area is necessary because it "helps protect the fragile structure of our culture. This argument to endorse indirect rather than direct arts support by the government. But he does countena nce situations in which government support could be direct. At least two problems, however, beset this approach. First, there is the assumption that the structure of culture is fragile. When we look at the structure of culture, we note that it comprises many ingredients beside art-social dances, children's games, fashion, sports, religion, indeed the whole gamut of our symbolizing activities. These images become part and parcel of our ways of thinking; they are the very weave of our common culture. But it seems dubious to consider them to be fit beneficiaries of public funding. Yet if art deserves public funding because of its contribution to our cultural framework, so does anything else that similarly contributes, including, potentially, every sort of symbolizing activity, and notably some outlandish ones: hoopla-hoops, comic books, Billy Graham, the Watergate break-in, and so on. Government funding of anything involves government control. Proponents of arts funding are unaware of this peril when they praise the role of the national endowments as an seal of approval on artists and arts groups. This could lead to politicization of arts. Another claim used to justify public funding of arts is equal arts participation.   Participation in arts can not only be attributed to state funding and subsidy but may also be attributed to two other possible factors, that is; Groups that are inclined to participate even without state funding especially those with high income and highly educated may be attending in higher numbers; or, groups that formerly attended in lower rates for example, low income and education and certain ethnic groups may also be participating more given the rise in public support. Accordingly, If state art support truly makes the arts more available and accessible, then   it would be expected that an even more evenly distributed scenario of participation in states that provide more funding would be witnessed. Unequal participation in arts appears on several levels; in education, income, race, and geographic location. People will always participate in the arts at unequal levels, and statistical evidence confirms that participation in arts differs by various populace groups. Although income alone may not accurately predict participation at the individual level, a more complete picture is seen when economic   theory of choice is combined with other social and individual background characteristics that help determine preferences such as education level, racial alignment, income, and location. Therefore, participation inequalities occur not only because of variations of individual tastes, but also because of other social and cultural influences on the choice and ability to participate in arts.   The cultural equity argument for government support, depends on the problem of unequal access. The depends on the fact that factors beyond individuals’ immediate control prevent them from taking part in opportunities availed by participation in arts. Equal access can be categorized into three concepts: equality of opportunity, rights, opportunity, and of participation. Use of state funding to correct for unequal access is a form of redistribution. Redistribution through arts funding is skewed, since it favors those to whom art and the aesthetic are more important over those to whom it is less important. So, the best form of redistribution of state resources would be direct transfers to the less fortunate. Proponents of state funding will also argue that by funding arts the state is safeguarding the welfare of the citizens. But welfare, as it applies to as a state role, refers to assistance to individuals in need of the basic commodities that comprise a living. Is it practical to suppose that arts funding provides some such a commodity?   An analogy would be to say that someone needs Y is to say that they lack it, they will suffer injury, sickness, madness, hunger, or avoidable death. Does the production of contemporary artworks assist individuals in needful situations such as these? The answer is no. Some proponents of public funding will attempt to connect state arts support to the state's welfare function by   introducing a concept of aesthetic welfare. Aesthetic welfare is defined as all the aesthetic levels of the experience of members of the society at a given time. It is then suggested that there is a prima facie government duty to preserve the aesthetic wealth of society wh ere that wealth-pictures, plays, and so forth-is what gives rise to aesthetic welfare. It is not certain, however, that this particular notion of aesthetic welfare helps the case for prospective arts funding since it may be that, if there were such a prima facie duty, retrospective arts funding might suffice to discharge it. Also, one must question whether the connection between "aesthetic welfare" and the concept of welfare relevant to government activity is really unequivocal. First, "aesthetic welfare" doesn't correlate with de-finable needs, especially basic needs; nor does being below the poverty line imply being aesthetically disadvantaged. And clearly promoting individuals' aesthetic welfare will not raise them over the poverty line. More-over, the state's welfare responsibility under this conception of aesthetic welfare doesn't seem to be directly connected to individuals but is a matter of ensuring that there will be a large number of aesthetic objects around so that people can have aesthetic experiences if they want them. The state is to ensure the permanent possibility of high levels of what is called aesthetic welfare but might better be called aesthetic well-being. This well-being is to be secured for society at large, construed additively, whereas the state's welfare responsibilities are discharged toward particular per-sons, viz., anyone in need. Thus the notion of aesthetic welfare" appears not to refer to welfare of the kind that defines the state's proper domain of activity; it is merely a homonymous term that, though sounding like the concept employed in the discussion of the state's welfare responsibilities, is actually quite separate. Lastly, the idea that art will disappear if the government does not support it, and if the state does not fund new art, no one else will. Of course, this is a false claim, and a dubious one at that. The arts flourished in democratic societies before the coming of direct public funding; there is no reason to suppose that they will disappear without the direct government funding of new arts. Where people are interested in art, there will still be an audience to support new work. Were there no audience whatsoever, it would be difficult to determine on what basis the government would justify funding new art. SUMMARY In conclusion, there do appear to be some theoretical justifications for possible government funding of art. The two important   justifications seem to be those concerning the aesthetic environment and the moralizing effects of the arts.   For they endorse the funding of only certain types of art. Government support for only certain types of art may indeed disturb the structure of artistic production and perhaps destroy the art world as we know it.

Free sample - The US Government Should Not be Funding Arts.. translation missing

The US Government Should Not be Funding Arts.. The US Government Should Not be Funding Arts.Introduction First, what does "funding" refer to? Funding can be either direct or indirect. The US government was funding arts in this country before 1965 but that it took in-direct forms, including land grants, tax exemptions to educational and cultural institutions such as museums, and tax advantages for private donations of art to the public. This paper delves more onto direct state funding of the arts. The US arts system has no single control but instead, has a variety of public subsidies composing of roughly 13% of the nation’s total investment in nonprofit arts groups. The National Endowment for the Arts-NEA is the largest single funder of the arts across America, but the majority of direct public funding still flows from a combination of other federal, state, regional and local agencies. NEA in 2009 had a budget of US$155 million.   Even before the creation of the NEA in 1965, the issue of government in funding of the arts had been a contested one. Some justifications for governme nt arts funding are found, but it is noted that in embracing these justifications inappropriate consequences may be occur. Thus, in this paper it is urged that we refrain from government funding of the arts because the effects of such funding, would be deleterious to the art world. Much government funding is aimed at what might be thought of as the preservation of culture. It supports museums and repertory companies and is intent on keeping our culture intact. Other objectives of government funding target community art centers, regional theaters, and school programs. And funding may also be directed to professional artists for the purpose of enabling them to produce new works of art.    Whereas funding of museums looks to the past of our culture, funding professional artists is futuristic.   The preservation of culture, of course, is involved with education, which falls under the jurisdiction of the state . More to that, though not clearly, art preservation keeps us aware of who we have been, which informs our practical decisions about who we shall become. Support for the production of modern day art can also be defended as educational but, bluntly, contemporary art is not our heritage yet; nor is it clear how much of it will be or how far it will stand time.   If the aesthetic value of contemporary art would be used to justify prospective arts funding, it also will have unfortunate consequence in that it only warrants the funding of certain kinds of art, the art of the beautiful, the sublime, and that expressive of psychically balancing qualities. If no further justification can be found, the ill consequence of this is that the state can only fund a certain typ e of art. Artists pursuing certain non aesthetic aims cannot be funded by the state. If the government places large investments behind one type of art, the evolution of the art world will undoubtedly be affect ed. Whole avenues of artistic development will appear less viable than the production of aesthetic art. And from the contemporary art world's point of view, this kind of arts funding might be regarded as having a regressive effect overall.    Another justification used by proponents of arts funding is that it may function as an economic stimulant, promoting prosperity by, for example, attracting tourists. As far as this funding can be pegged to the state of the economy, it would appear to be a legitimate course of action, since functioning of economy is related to the state responsibilities. It is often difficult to imagine the way in which grants to individual artists for new works as opposed to city art centers can spur economic growth. An economic growth argument identifies the value of arts funding not with aesthetic or artistic value, but as an economic instrument. But despite this, the argument seems acceptable, although it can only be mobilized under certain constraints. Where   arts funding is employed to stimulate tourism or some other form of economic activity in a given area, the state must be convinced that there is no alternative form of intervention of comparable cost would yield greater prosperity in that area. More to that, where national rather than local economy is at issue, the state must supply some rationale why it is undertaking to stimulate tourism in one geographical region rather than another.      Another justification put forward is connecting arts funding to   employment. If state funding is not forthcoming, then many artists will be unemployed. Unemployment is a genuine matter of concern to the state. Massive unemployment is one of the great tragedies of our society, and we must demand that the state do something about it. Artists do not constitute a group that is comparable to unemployed youth. Justice and equal opportunity do not seem to bear on the issue of artistic unemployment. For instance, I may not be able to support my family as an unemployed poet; but that does not mean that I can't do it in another way, say, as a cook or a copywriter. It does not fall under the state's responsibilities in regard to the unemployed extend to guaranteeing that everyone have the job he or she most desires. The case of artistic unemployment involves people not able to pursue the line of work they most like, while youth unemployment at large involves people excluded from the work force altogether. Fairness can be used to ground government arts support. If a given government subsidizes the building of sports arenas, then, in all fairness, arts production should also be supported. If the government facilitates the pursuits of sports fans, then it should, as a matter of treating people equally, also facilitate the pursuits of arts fans, perhaps by means of supporting the creation of new art. But what, in such a context, justifies the subsidizing of sports? If nothing does, then perhaps what is required is that neither sports nor the arts be subsidized. Of course, a subsidy for a sport might be defended on the grounds that it stimulates the economy of an area; but then arts funding can, in principle, be similarly defended. Again, it does seem correct to say that if a majority, call them sports fans, demand sports funding in the face of opposition by a minority, call them arts lovers, then fairness urges that the leisure activity of the latter group also be supported, though perhap s not to the same extent. The deeper question, however, is whether any leisure activity should be supported. The advancement of the leisure professions may just not be an area the state should enter at all.    One of the earliest arguments in favor of government support of the arts is that the arts perform a moral function.   If art can function as a means of improving morality, then the state is justified in supporting it. Some art enables us to see the world from a different perspective, thus not only promoting the acquisition of a formal requirement of morality, but also enabling us to understand situations of different classes, races, creeds, and genders. Art, then, can foster greater tolerance within society and thereby bolster the moral order. If we argue from these grounds then state funding on moralizing grounds will be justified ,but   then only to that art which will increase moral sympathies. This will require some serious   research into the moral importance of different kinds of art. Art that afford no moral uplift cannot be funded. This raises problems like those encountered in an earlier discussion of the aesthetics value. If the state is funding only certain kinds of art and it enters the art world, putting its resources behind only moralizing kinds of art, then there is a danger that the development of the art world will be skewed in a certain direction. This violates our understanding   that   art should be pluralist and   independent of considerations of social utility.    Public arts funding primarily benefits the already advantaged. An artist is a person engaged in one or more of any of a broad spectrum of activities   related to creating art, practicing the arts and/or demonstrating an art(Wikipedia). Artist should be able to use their rare skills to improve their well being.    There is also an argument that public funding is necessary to promote innovation and dialogue among diverse points of view, so that groups that want to use the fine arts to challenge the status quo and advocate their unpopular world views and lifestyles can have a forum. However, while the common good requires tolerating the expression of unpopular points of view, the fact that most people do not share them suggests that the common good may not be served by supporting their expression. Even if it is, the government has no more business providing subsidies for such purposes. Indeed, many unpopular world views and lifestyles are at odds with traditional theism, and subsidizing them while not subsidizing theism would give the former an unfair advantage. People who think the expression of an unpopular viewpoint desirable should be fund it themselves just as religious believers should support their churches and missionary activities. The argument that public funding is necessary because some people have great and rare gifts that, due to lack of a market, otherwise will be lost. That might be true but the common good of political society is limited. It is not the proper role of the U.S. government to pursue all human goods in every possible way, and therefore not its business to subsidize every gift that otherwise will be fruitless. Some argue that subsidizing what initially appeals only to a few are necessary to foster a wide variety of creative initiatives that will elevate popular taste and tomorrow serve the multitude. Whether the funded work elevates anyone’s taste is arguable, but even supposing it does, can this indirect contribution to the common good justify the subsidy? Moreover, while some creative efforts that initially appeal to few eventually serve the masses, most do not, and it is hardly possible to show that public funding of some portion of art work is necessary for future cultural development. There are other needs calling for public funding, and some, plainly more pressing than this- for example, better basic education for the very poor- will surely put it to fruitful uses. One cannot justify spending for a dim and uncertain result when there are many urgent and promising alternatives. A recent argument draws a distinction between to view points of culture, Culture provides the particular paintings, performances, and novels, designs, sports and thrillers that we value and take delight in; but it also provides the structural frame that makes aesthetic values of that sort possible and makes them values for us. This structural frame includes a wealth of associations, references, images, and contrasts, which, like language, supply us with the tools with which we forge and map our common life. It insists that it is better for people to have a complex and multifarious cultural framework and that we owe future generations at least as rich a cultural framework as the one we inherited. Both these values can be achieved by promoting the creation of innovative art. Government support in this area is necessary because it "helps protect the fragile structure of our culture. This argument to endorse indirect rather than direct arts support by the government. But he does countena nce situations in which government support could be direct. At least two problems, however, beset this approach. First, there is the assumption that the structure of culture is fragile. When we look at the structure of culture, we note that it comprises many ingredients beside art-social dances, children's games, fashion, sports, religion, indeed the whole gamut of our symbolizing activities. These images become part and parcel of our ways of thinking; they are the very weave of our common culture. But it seems dubious to consider them to be fit beneficiaries of public funding. Yet if art deserves public funding because of its contribution to our cultural framework, so does anything else that similarly contributes, including, potentially, every sort of symbolizing activity, and notably some outlandish ones: hoopla-hoops, comic books, Billy Graham, the Watergate break-in, and so on. Government funding of anything involves government control. Proponents of arts funding are unaware of this peril when they praise the role of the national endowments as an seal of approval on artists and arts groups. This could lead to politicization of arts. Another claim used to justify public funding of arts is equal arts participation.   Participation in arts can not only be attributed to state funding and subsidy but may also be attributed to two other possible factors, that is; Groups that are inclined to participate even without state funding especially those with high income and highly educated may be attending in higher numbers; or, groups that formerly attended in lower rates for example, low income and education and certain ethnic groups may also be participating more given the rise in public support. Accordingly, If state art support truly makes the arts more available and accessible, then   it would be expected that an even more evenly distributed scenario of participation in states that provide more funding would be witnessed. Unequal participation in arts appears on several levels; in education, income, race, and geographic location. People will always participate in the arts at unequal levels, and statistical evidence confirms that participation in arts differs by various populace groups. Although income alone may not accurately predict participation at the individual level, a more complete picture is seen when economic   theory of choice is combined with other social and individual background characteristics that help determine preferences such as education level, racial alignment, income, and location. Therefore, participation inequalities occur not only because of variations of individual tastes, but also because of other social and cultural influences on the choice and ability to participate in arts.   The cultural equity argument for government support, depends on the problem of unequal access. The depends on the fact that factors beyond individuals’ immediate control prevent them from taking part in opportunities availed by participation in arts. Equal access can be categorized into three concepts: equality of opportunity, rights, opportunity, and of participation. Use of state funding to correct for unequal access is a form of redistribution. Redistribution through arts funding is skewed, since it favors those to whom art and the aesthetic are more important over those to whom it is less important. So, the best form of redistribution of state resources would be direct transfers to the less fortunate. Proponents of state funding will also argue that by funding arts the state is safeguarding the welfare of the citizens. But welfare, as it applies to as a state role, refers to assistance to individuals in need of the basic commodities that comprise a living. Is it practical to suppose that arts funding provides some such a commodity?   An analogy would be to say that someone needs Y is to say that they lack it, they will suffer injury, sickness, madness, hunger, or avoidable death. Does the production of contemporary artworks assist individuals in needful situations such as these? The answer is no. Some proponents of public funding will attempt to connect state arts support to the state's welfare function by   introducing a concept of aesthetic welfare. Aesthetic welfare is defined as all the aesthetic levels of the experience of members of the society at a given time. It is then suggested that there is a prima facie government duty to preserve the aesthetic wealth of society wh ere that wealth-pictures, plays, and so forth-is what gives rise to aesthetic welfare. It is not certain, however, that this particular notion of aesthetic welfare helps the case for prospective arts funding since it may be that, if there were such a prima facie duty, retrospective arts funding might suffice to discharge it. Also, one must question whether the connection between "aesthetic welfare" and the concept of welfare relevant to government activity is really unequivocal. First, "aesthetic welfare" doesn't correlate with de-finable needs, especially basic needs; nor does being below the poverty line imply being aesthetically disadvantaged. And clearly promoting individuals' aesthetic welfare will not raise them over the poverty line. More-over, the state's welfare responsibility under this conception of aesthetic welfare doesn't seem to be directly connected to individuals but is a matter of ensuring that there will be a large number of aesthetic objects around so that people can have aesthetic experiences if they want them. The state is to ensure the permanent possibility of high levels of what is called aesthetic welfare but might better be called aesthetic well-being. This well-being is to be secured for society at large, construed additively, whereas the state's welfare responsibilities are discharged toward particular per-sons, viz., anyone in need. Thus the notion of aesthetic welfare" appears not to refer to welfare of the kind that defines the state's proper domain of activity; it is merely a homonymous term that, though sounding like the concept employed in the discussion of the state's welfare responsibilities, is actually quite separate. Lastly, the idea that art will disappear if the government does not support it, and if the state does not fund new art, no one else will. Of course, this is a false claim, and a dubious one at that. The arts flourished in democratic societies before the coming of direct public funding; there is no reason to suppose that they will disappear without the direct government funding of new arts. Where people are interested in art, there will still be an audience to support new work. Were there no audience whatsoever, it would be difficult to determine on what basis the government would justify funding new art. SUMMARY In conclusion, there do appear to be some theoretical justifications for possible government funding of art. The two important   justifications seem to be those concerning the aesthetic environment and the moralizing effects of the arts.   For they endorse the funding of only certain types of art. Government support for only certain types of art may indeed disturb the structure of artistic production and perhaps destroy the art world as we know it.

How To Automate Social Media With CoSchedule Get Your Time Back

How To Automate Social Media With Get Your Time Back Is social media marketing impossible without automation tools? Close to it. Even if you’re Wonder Woman, there’s too much that needs your attention to handle by yourself. Social automation tools make it possible for your team to do more in less time, as well as making the impossible easy (like posting 25 times a day while getting anything else done). However, with so many options out there, how do you choose the best tool set? One word: . With our all-in-one marketing calendar platform, you can automate your social media marketing in one place (and keep the rest of your marketing organized, too). This post is going to walk you through how it all works, from how to set up your accounts, to how to use some of our most popular features like ReQueue and Best Time Scheduling. How To Automate Your Social Media With And Get Your Time BackWhat Is Social Media Automation? Social media automation is the process of scheduling social media content to publish automatically without manual effort. Automate Your Social Media With Free For 14 Days Were about to cover all kinds of cool stuff you can do with . If youre not already a customer, grab a free trial below and follow along! Social Media Automation Best Practices Like anything else in the realm social media, there are major do’s and don’ts as well as best practices that will help you get the most out of your automation process. Read Before You Share If you’re sharing content, it’s important that you read the whole article or consume the piece in its entirety. Why? You need to be able to create messaging that shows actual understanding of what it’s about. People can tell if you haven’t read the content before posting it. You also want to make sure that a piece of content fits your brand. Headlines don’t always explain everything, and the last thing your team wants to do is post an article that doesn’t have anything to do with what your company does. Plus it’s lazy and you don’t want to be lazy when it comes to social media. #social #media tip: always read before you share!Automate Your Social Media Promotions For Publishing New Content Our next best practice for automating social media marketing is to create new social media campaigns anytime your team creates a new piece of content. You spend a lot of time working on that content, so dont waste the opportunity to promote it. Shut Off Your Automated Campaigns During A Company Crisis It happened. Suddenly your company is in PR crisis mode, which means the first thing your team needs to do is shut off your automatic social campaigns. There is nothing worse than when a company is already facing a crisis, and suddenly a tweet goes out about something irrelevant It comes off as insensitive to what’s already happening with the company and could make the situation worse. If your team goes into a crisis mode, pop into your calendar and find your social campaigns: Either turn them off until the crisis has passed: Or push their publish date back a week or two, until you’re back in control of the situation: When in doubt, consult your PR disaster plan  or speak to your communications team on what steps to take. Recommended Reading: How to Build a Thorough Social Media Policy to Prevent Emergencies Facing a #social #media crisis? Dont forget to turn off any #automated campaigns.Use ReQueue To Reshare Evergreen Social Media Content You should be sure to maximize the life of your evergreen content by resharing it on social media. But wouldn’t people become annoyed seeing the same social message? Not exactly because social media messages have a short lifespan. For Facebook, it’s about two hours and thirty minutes, while Twitter is a maximum of 18 minutes. That means that your team should reuse that content again to make sure your audience actually sees it. Re-posting your content can be time-consuming though. That’s where a tool like ReQueue  comes in. ReQueue is an intelligent social media queue that allows users to reshare content at the click of a button and simply forget it. Not to mention that ReQueue is super simple to activate. Just scroll down to the post you want to add to your queue: Scroll to the bottom and toggle the ReQueue switch to on: Select your queue feed and the tool will take it from there: #social #media tip: use #ReQueue in @to reshare posts auto-magically:Use Best Time Scheduling To Automate Posting Times The final best practice we’ll cover is sending your posts at the best times. Why? During peak times when your audience is the most active, you have the best chance at getting more eyeballs on your content. Now with Best Time Scheduling  in  ,  you don’t have to sit and look up the best times to post anymore.  It’ll do that automatically for you. How can you active this fantastic feature? Go to your calendar and select a social post: Scroll down to the bottom: Select Best Time from the dropdown menu and let do the rest: Avoid These  Cardinal Sins Of Social Media Automation The ability to automate your social media is an awesome power, but with that power comes the responsibility of using it correctly. So these are some faux pas you should avoid at all cost. Automatic Direct Messages (DM) Nothing grinds my gears more than when I follow someone on Twitter and an automatic message shows up in my direct message folder. While it may seem like a good idea to thank everyone who follows you, it comes off like spam. No one wants to read a hollow sentiment  they know every other follower is getting. So, just say no to automated DMs. Just say no to automated DMs.Automated Responses To Customer Complaints There’s a very good reason why you should never, ever send automated responses to customer complaints. Applebee’s  found that out the hard way a few years ago when they started copying and pasting the same comment over and over to angry customers. When someone is already fired up on social media, they want to know they’ve been heard. Automating your company’s response sends a clear message that their opinion doesn’t matter to you and adds  gas  to the flame. Never automate responses to customer complaints on #social #media.Schedule One Message Across Multiple Networks While it may seem like a great social media hack, your team needs to avoid is posting the same message across multiple networks. Each social network has different requirements and best practices. Not to mention unique audiences and purposes. For example, your LinkedIn content might be professional, while your tweets might be more fun and light-hearted. There’s an easy way to optimize every post for each network, though.  Use the Social Message Optimizer. Using this free  web-based  tool is simple. First, type your message into the field and select which type of post you’re going to be sharing: After hitting score my message, you’ll have feedback on how to improve your post for every network. You can edit the message without changing it for the whole group: Once you find the right fit, copy the content into your calendar: Use the Social Message Optimizer to tailor each post to every network.Setting Up Your Account For Social Automation Get your team members that will be working on social media marketing  set up in your organization’s  account. In the settings tab of your calendar underneath Team is a spot for you to add new team members: To start, enter their email address: They should receive an email that walks them through how to set up their account: Once their account is set up, a short onboarding session will walk them through how to use the tool: If your team needs more profiles than what is available with your plan, you can add more by going to Billing and adding extra profiles for an additional fee instead of upgrading your whole plan. Once your users are in, you need to connect your company’s profiles. To do this go to your settings menu and under Social Profiles, select Connect A Social Profile: Select the channel you want to connect: Available profiles or pages will surface allowing you to pick which ones you’d like to connect: Your newly connected profile should show in your connected profiles feed: Creating Ad Hoc Social Media Posts Ad-hoc social media posts are one-off posts that stand by themselves (rather than being part of a broader coordinated campaign). . These normally don’t connect to a piece of content that your team has created but they can link out to landing pages, videos,  etc. Go to your calendar and choose the day that you want to schedule your message and click +: Select Social Message from your content options: Choose the channel that you want to send your message on: Craft your post: To add a photo or video to your message, change the message type to the media type you want to add and your media by clicking the +add image or +add video: Select the file you want to upload: Once your file is uploaded you’ll be able to preview how it will look on the channel: To add a link, scroll over to the link tab, and enter your web address at the bottom of the post: You can now schedule your post, using Best Time Scheduling: You can also customize your time by selecting Custom Time from the dropdown menu and changing it: Then let’s say that your post is performing incredibly well. You can enable ReQueue to reshare that post and keep its momentum going. If you haven’t set up ReQueue yet, you need to walk through a small series of steps to get the system started. First go to left-hand side bar menu, select ReQueue and +New Group: Groups allow users to create different ReQueue content groups, so when you set up a new group you need to name it, determine what dates you want the group to send messages on, and decide how many messages the group can send in a given time period: There are two different ways you can add messages to your ReQueue group. One is toggling the ReQueue switch to on, like we showed you earlier. The other is to write your message directly in ReQueue. Select your group and click on Add Message: Craft your message like you would in the regular calendar: The last step in setting up your ReQueue is setting up how often ReQueue will fill the gaps in your calendar. To start, select Go to my ReQueue Settings in the upper right-hand corner: Then you’ll see a calendar where you can select the time frame and day that you want ReQueue to send your messages in: Finally, you need to set how many messages you want ReQueue to send per  day on each channel: Recommended Reading: How to Write For Social Media to Create the Best Posts Promoting Content With Social Media  Campaigns in Did you know that you can create social media campaigns to promote your WordPress content in one place with ? Creating content in is easy. Go back to your content list by selecting + in the upper right-hand corner and selecting the piece of content: Title your and create your content as usual: Then you can schedule your social media messages within your piece of content. To start select Add a Social Campaign: will automatically populate a social media schedule for you that you can add messages to. Simply click the +: To add a message outside the standard campaign set, scroll to the bottom, select Custom Date  and adjust the date at the bottom of the message: You can add as many messages as you want to promote your content. Now let’s say you want to create a 25 message campaign for every piece of content that you write. You wouldn’t want to re-create those messages for every piece of content that you create. That’s where Social Templates and Social Helpers come into play. To start, select the square icon under Social Campaigns and select +New Template: Title your template: Then add in the number of messages you want to send for each campaign. You’ll be able to select dates as well as social channels: Then you’re going to create your text helpers. These allow you to automatically fill in text for your social campaigns without having to manually go through each post and enter it. Select +New Helper, and then +Text Helper: Create title tags for each new social helper. At this point you can either enter the text you want the message to fill in or leave it blank for a more customizable approach to each campaign: Now you’re going to add the text helpers to the posts that you’ve created. That will allow to automatically populate them in your campaign. Select the brackets in the upper right-hand corner of each message, and select the helper you want to add: Next, you’re going to add image helpers to your campaign which will automatically add the photos you upload to your scheduled messages. Go back to your helper menu, and select Image Helper: Label your image helpers the same way that you labeled your text helpers. Do not add photos in your template. Select the message that you want to add an image to by clicking on the camera icon: The image helper title will appear. Click to add it to your template: Once you have your text and image helpers in place you can apply the template to any campaign by selecting the campaign name from the social template menu and clicking apply: In the template,  add your copy to your text helpers,  and select the camera button to add images to each of your image helpers: After you’ve uploaded all your images,  check your messages to see if the text and image helpers have been applied: WordPress + social media + @= success.Creating Standalone Social Media Campaigns Finally, let’s  walk through creating   standalone social media campaigns. These campaigns don’t directly connect to a piece of WordPress  content  in your calendar. First you need to add Social Campaigns to your custom content types. To do this go to your settings and scroll down to content types: Scroll down and choose Social Campaign from the drop-down menu: Then go to the content menu in your calendar and select Social Campaign: Title your campaign and set the date it will start: You can either add in the messages in manually by selecting the + icon or adding a social template: From there you can follow the steps that were previously outlined. Easy, right? Heres how to automate all your #social #media #campaigns in @.Automate Your Social Media Approval Process So, creating social content in is easy, right?   But, once you’ve created those posts,  your social media manager, editor, or client might still need to approve all those posts. And let’s face it, if you have tons of  posts to approve,  it  could take FOREVER. What if there was a way to automate that approval process? Setting Up Task Templates The first step in automating your approval process is setting up tasks templates that allow you to apply your to-do list into any social media piece. To create a task template, click into a piece of content, select the square box in the corner, and select +New Template: Title your template: Add in tasks that your team needs to complete in order to finish a project: Assign team members in your calendar to the tasks by clicking +Assign or clicking the arrow on the right-hand side of the task. You can also assign due dates for the task by choosing a day before publishing or creating a custom date in the Due dropdown menu: Once you have your tasks created and assign in your template, you can apply that template to any piece of content by selecting the square box in the top right-hand corner, and choosing your template: Adding Approval Steps To Your Workflows Someone on your team (or your client’s team) is probably responsible for approving content. Writing posts in Word docs and sending them back and forth via email isn’t exactly efficient, though. There has to be a better way, right? That’s where task approval steps in come in. You can assign approvals for any task in your task template and your team members won’t be able to check off the task until it’s been approved by a manager. To set this up, go back into your task template and click the arrow on the right-hand side. In the template, it will say Requires Approval From. Select the person that needs to approve the task contents: When the content creator is ready for the approver to check their work, a dash will appear in the box. This will alert the manager that content is ready for them to view: Managers will then be able to approve the task: Once the task is approved the usual checkmark will appear: Using task templates will help get your team out of their inbox and organized in one place. Improve social media approval workflows in @. Learn how:How To Measure Social Media Performance What if automagically gathered your social media data and packaged it into a few easy to download reports? Top Content Report You publish a ton of content and trying to find what’s doing well and connecting with your audience can be hard. ’s Top Content Report automatically reports on your most-shared content across social media. To find your Top Content Report, go to the left-hand side  of your dashboard, select Analytics,  and then Top Content Report: The first thing you’ll see is your top content for all time as well as the number of social shares that have been generated from the post. It’s important to note that Twitter shares are not included in these numbers due to the fact that Twitter revoked it’s API access: You can sort your top content by type: Who owns the content: And the time it was published: Now it couldn’t be easier to find your top content all in one place. Did you know @has robust #social #analytics capabilities? Its true!Social Engagement Reports But the reporting automation doesn’t stop there. also has Social Engagement Reports which break down engagement data  across all your social networks. To find them go back to the analytics home screen and select Social Engagement Report. The top of the report shows your engagement rate overall and breaks it down for each channel. You can also adjust the date that your data is being pulled from: The next section of the report details network performance and breaks down specific account performance as well: The final part of your report breaks down your top messages that were sent in a specific time period. You can see overall top performers as well as a breakdown of your top posts per channel: Another cool feature about the social engagement report is that you can schedule a pre-made PDF or CSV file to be delivered straight to your inbox. To set up your delivery schedule, go of your report and click Schedule: Choose your frequency: Then enter in the email addresses of the people the report needs to go to and viola! You’re done: