Racial, Gender, And Sexual Oriention Micro Aggressions Essay Example for Free

Racial, Gender, And Sexual Oriention Micro Aggressions Essay The three types of micro aggression are racial micro aggression, gender micro aggression, and sexual orientation micro aggression. Racial micro aggression consists of subtle insults which can be verbal, nonverbal, or visual directed towards people of color, often automatically or unconsciously. It is a subtle form of racism. Racial micro aggression can take a number of different forms including: nullifying racial-cultural issues, making stereo-typical assumptions, and cultural insensitivity. They also play a role in unfairness in the legal system as they can influence the decisions of juries. Gender micro aggression is related to acts that perpetuate stereotypical gender roles. An example of this could be a male faculty member asking his male colleagues to help him work out a glitch in a piece of equipment in his laboratory but not asking his female colleagues making the notion that a woman’s mechanical aptitude is inferior to that of a man’s. These gender micro aggressions include devaluing, minimizing, belittling, and demeaning comments about women and women associated activities. Sexual orientation micro aggression is associated with actions that maintain stereotypes about homosexuals. An example of this would be assuming that all homosexual males personify women with high-pitched voices and manicured nails and that all lesbians have manly characteristics that signify that they are gay. The dynamics of micro aggression are the forces that tend to produce activity and change in racial, gender, and sexuality incidents. The dynamics behind micro aggression also tend to send messages towards people. An example of this could be when an white person asks an Asian American or Latino American to teach them words in their native language. This sends the message that they aren’t American and a foreigner. Another example would be a white person stating that an African American is very articulate. The actual message it sends is that it is unusual for someone of color to be intelligent. There are four dilemmas that we face during micro aggression. The first is the clash of racial realities where white Americans tend to think that racism is on the decline and that African Americans are doing better in life than 30 or 40 years ago. On the reverse side, blacks view whites as racially insensitive. The second dilemma is the invisibility of unintentional expressions of bias. This refers to the issue that in most cases racial biases are invisible and the wrongdoer is unaware of any injustice. The third is the perceived minimal harm of racial micro aggressions. This conveys the fact that when an individual is confronted with their micro aggressive acts the perpetrator usually believes that the victim has overreacted or is being overly sensitive. The last dilemma is the Catch 22 of responding to micro aggressions. The victim is usually perplexed about how to react whether it be deciding to do nothing or confronting the perpetrator. Sometimes, micro aggression can manifest in counseling. Under Denial of Individual Racism, a common response by Whites to people of color is that they can understand and relate to experiences of racism. Under Color Blindness, for example, a client of color stresses the importance of racial experiences only to have the therapist reply, â€Å"We are all unique. We are all individuals. † or â€Å"We are all human beings or the same under the skin. † These colorblind statements, which were intended to be supportive, to be sympathetic, and to convey an ability to understand, may leave the client feeling misunderstood, negated, invalidated, and unimportant. In clinical practice, micro aggressions are likely to go unrecognized by White clinicians who are unintentionally and unconsciously expressing bias. As a result, therapists must make a concerted effort to identify and monitor micro aggressions within the therapeutic context. CHAPTER 7 CULTURALLY APPROPRIATE INTERVENTION STRATEGIES The communication styles identified in this chapter were verbal and non-verbal. Most communication specialists believe that only 30 to 40 percent of what is communicated conversationally is verbal. There are a number of non-verbal communication styles. These are proxemics, kinesics, paralanguage, and high-low context communication. The two concepts presented in sociopolitical facets of nonverbal communication were 1. Nonverbals as reflections of bias this is represented in the example of the white women walking down the street past the white, black, and latino teenager. When passing the black and latino teenager she automatically clutched her purse and switched it to the other side. The women who switched their purse were operating from stereotype, biases, and preconceived notions about what minority youngsters are like. 2. Nonverbals as triggers to biases and fear this is represented in the differences in that which cultures communicate. Whites often perceive black persons as a â€Å"threat† because of the way in which they communicate. Blacks are often high-key, animated, heated, and confrontational. They also believe the black male to be hostile, angry and prone to violence. Implications for Clinical Practice 1. Recognize that no one style of counseling or therapy will be appropriate for all populations and situations. 2. Become knowledgeable about how race, culture and gender affect communication styles. 3. Become aware of your own communication and helping styles. 4. Try to obtain additional training and education on a variety theoretical orientations and approaches 5. Know that each school of counseling and therapy has strengths but they might be one dimensional 6. Use an approach in training programs that call for openness and flexibility in conceptualizing the issues and actual skill building. It is important to know this because communication styles are strongly influenced by race, culture, ethnicity, and gender. These implications lend support to the notion that various racial groups exhibit differences in communication style. CHAPTER 8 MULTICULTURAL FAMILY COUNSELING AND THERAPY There were five components of the multicultural family counseling and therapy: a conceptual model. 1. People Nature Relationships 2. Time Dimension 3. Relational Dimension 4. Activity Dimension 5. Nature of People Dimension Activity Dimension The primary characteristic of White U. S. cultural values and beliefs is the action orientation. They believe that we must master and control nature, we must always do something about a situation, and that we should always take a pragmatic and utilitarian view of life. Counselors expect clients to master and control their own life and environment and to take action to resolve their problems. It is evident everywhere and is reflected in how White Americans identify themselves by occupation. American Indians and Latinos/Hispanics prefer a being or being-in-becoming mode of activity. The American Indian concepts of self determination and noninterference are examples. The Latinos/Hispanics believe that people are born with dignity and deserve to be treated with respect. They are born with innate worth and importance. The inner soul and spirit are more important than the body. Both the Asian and African Americans operate from the doing orientation. However, the â€Å"doing† manifests differently than in White American lifestyle. The active dimension in Asians is related not to individual achievement, but to achievement via conformity to family values and demands. African Americans exercise considerable control in the face of adversity to minimize discrimination and to maximize success. Nature of People Dimension Middle class White Americans generally perceive the nature of people to be neutral. Environmental issues such as conditioning, family upbringing, and socialization are believed to be the dominant forces in determining the nature of the person. People are neither good nor bad but are a product of their environment. African Americans tend to have a mixed concept of people, but like their White counterparts, they believe people are generally neutral. Asian Americans and American Indians tend to emphasize the inherent goodness of people. Latinos may be described as holding the view that human nature is both good and bad. The Key Points for Clinical Practice 1. Know that our increasing diversity presents us with different cultural concepts of the family. 2. Realize that families cannot be understood apart from the cultural, social, and political dimensions of their functioning. 3. When working with a racial/ethnic group different from you, make a concerted and conscientious effort learn as much as possible about their definition of family and the values along with it. 4. Be attentive to cultural family structure and extended family ties. 5. Don’t prejudge based on your own ethnocentric perspective. 6. Realize that most minority groups view the wifely role as less important than the motherly role. 7. Utilize the natural help giving networks and structures that already exist in the minority culture in community. 8. Recognize that helping can take many forms. These forms often appear quite different than our own, but they are no less effective or legitimate. Multicultural counseling calls for the counselor to modify our goals and techniques to fit the needs of minority populations. 9. Assess the importance of ethnicity to clients and families. 10. Realize that the role of family counselor cannot be confined to culture bound rules. Effective multicultural counseling may include validating and strengthening ethnic identity increasing ones own awareness and use of the client support system, serving as a culture broker, and becoming aware of the advantages and disadvantages of being from the same or different ethnic background as your client. You shouldn’t feel you need to know everything about the ethnic group, you should avoid polarization of cultural issues. 11. Accept the notion that the family therapist will need to be creative in intervention techniques when working with minorities. Bold = most important points in clinical practice CHAPTER 9 NON-WESTERN INDIGENOUS METHODS OF HEALING Culture bound syndromes are disorders specific to a cultural group or society but not easily given a DSM diagnosis. These illnesses or afflictions have local names with distinct culturally sanctioned beliefs surrounding causation and treatment. They include amok, ataque de nervios, brain fag, ghost sickness, koro, mal de ojo, nervios, and rootwork. It is very important for mental health professionals to become familiar not only with the cultural background of their clients, but to be knowledgeable about specific culture bound syndromes. A primary danger from lack of cultural understanding is the tendency to overpathologize or overestimate the degree of pathology. The principles of indigenous healing 1. The healing begins with an opening prayer and ends with a closing prayer. The pule creates an atmosphere for healing and involves asking the family gods for guidance. The gods aren’t asked to intervene but grant wisdom, understanding and honesty. 2. The ritual elicits a truth telling sanctioned by the gods and makes compliance among participants a serious matter. The leader states the problem, prays for a spiritual fusion, reaches out to resistant family members, and attempts to unify the group 3. Muhiki occurs which is a process of getting to the problems. The foregiving, releasing of wrongs, the hurts, and the conflicts produces a deep sense of resolution. 4. After the closing prayer the family participates in pant, the ritual in which food is offered to the gods and the participants. Implications for Clinical Practice 1. Do not invalidate the indigenous practices of your culturally diverse client. 2. Become knowledgeable about indigenous beliefs and healing practices. 3. Realize that learning about indigenous healing and beliefs entails experimental or lived realities. 4. Avoid overpathologizing and underpathologizing a culturally diverse clients problems. 5. Be willing to consult with traditional healers or make use of their services. 6. Recognize the spirituality is an intimate aspect of the human condition and a legitimate aspect of mental health work. 7. Be willing to expand your definition of the helping role to the community work and involvement.

Development of the Personal Computer in the 1970’s :: Essays Papers

Development of the Personal Computer in the 1970’s Personal Computers (PC’s) are everywhere. I am sitting at my desk right now writing this report on my PC. It seems like these days we take computers for granted. Almost everyone has one. Teachers assign projects that almost completely require the use of a computer. Where did this explosion of PC’s come from, though? Just a few short years ago you were lucky to have a computer. About 25 years ago people would have called you crazy if you said you had a personal computer. That’s because before 1975 there were no personal computers that were available, or affordable, to the general population. In fact, it wasn’t until much later that there really was a personal computer that anyone could use. The 1970’s served as a launching pad for the personal computer industry to blast off into the future. In the early 1970’s computer hobbyists were starting to show frustration at the current situation involving computers. At the time the only way anyone could use a computer was to access a mainframe through a terminal on a time-sharing basis. What the hobbyists wanted was to be able to access their files any time they wanted, even if they were on a business trip. They wanted to be able to play games without someone yelling at them to get back to work. They wanted their own personal computer (Campbell-Kelley and Aspray 237-238; Triumph). Some people were already experimenting with building computers. In 1971 Steve Wozniak and Bill Fernandez built a simple computer out of parts that were rejected by local companies. This computer, which they called the "cream soda computer," worked with lights and switches and is considered by many to be the first personal computer (Polsson). This wasn’t really satisfying, though. What hobbyists wanted was a real computer that they could c all their very own. This frustration was being voiced in the major electronics magazines at the time, the main two being Popular Electronics and Radio Electronics. Soon both these magazines were putting out a call for an article on building a personal computer (Triumph; Freiberger and Swaine 27-29; Shurkin 307). This wouldn’t have been possible a few years before, and it was a series of incredible advances in electronics that made it possible. In the early 1970’s calculators were very popular. They had recently become much easier to manufacture due to the advent of the integrated circuit and large-scale integration (technology that put the equivalent of 100 transistors on a single chip).

Abundance of drama Essay

She and the other girls give the names of innocent people who had nothing to do with witchcraft leaving the act with a dramatic hysterical close as all the girls try to cleanse themselves of the confrontation with Beelzebub hinting at the future prospects of the play. The act steadily builds up to when Tituba is accused at the end of the act of witchcraft. Each ingredient of the, story, which we know is hearsay, is added until it comes together and there is sufficient evidence for her to be accused by Hale. The story, which has been building, takes a turn and instead of the inquisitive nature of which it started, it becomes more action orientated and becomes a name and shame game where people are incorrectly blamed and gives a dramatic effect to the audience. This final dramatic scene of the act is placed there to end the act with a mini peak of the story and to keep the audience interested and wanting more. Act two begins with a long conversation between Proctor and his wife. They talk about the every day things but the stage directions and language Miller uses, like the scene with Proctor and Abigail, strongly projects the dramatic effect on the audience and emotions of the relationship. Proctor is not at ease with his wife, the atmosphere appears tense and uncomfortable. He attempts to make conversation, â€Å"are you well today? † which is not the sort of thing a husband would say to his wife. He tries to make her happy by complimenting her: â€Å"it’s well seasoned† and grinning. It is obvious that the atmosphere could be cut with a knife â€Å"as gently as he can† depicts that he is carefully choosing his words and trying to be a good husband but desperately trying not to bring up the affair. But it is not in vain as Goody Proctor reacts warmly to him, â€Å"blushing with pleasure†; giving an inkling that she still loves him. Though the feeling is that of betrayal and guilt there is a warm, gentle fragment of loyalty and love emancipated out of their conversation, which proves they still both feel love towards one another. Mary Warren comes in to the house-hold to discuss the events which took place in Salem earlier on and that, â€Å"Aye a proper court they have now. They’ve sent four judges out of Boston,† and that â€Å"39† women have been accused of witchcraft. She then proceeds to talk about the accused and that Mrs Proctor has been accused. This shocks them and that Rebecca nurse has also been accused, as she is a well-respected person in the Salem community and adds to the drama. Both of the women have enemies who wish to destroy them (Abigail and Mrs Putnam) and two rival factions are now clearly taking form, Goody Proctor is arrested. The home scene between Proctor and his wife is placed before she is arrested to dramatically show how innocent and plain Goody Proctor was and the contrast of her seeing John in the wrong by her being arrested, this dramatically portraits injustice. Proctor’s actions towards the arrest of his wife are dramatic as he runs out adding to the action and pace of the scene, â€Å"I will not have her chained! † The fact he will not have her chained when they are authorised to do so indicates conflict and gives drama, the use of an apostrophe shows his anger again adds gives a dramatic effect to the audiences Towards the end of the act pressure is placed on a character this time it is Mary who is being pressurised by the now fiery Proctor due his wife’s imprisonment. Proctor tries to force Mary to tell the court about the â€Å"poppet† which Mrs Proctor was arrested for, â€Å"You will tell the court how the poppet come here. † Mary claims she â€Å"cannot†, which she repeats and she begins to cry. Proctor’s language creates his mentality with the omnipotence of his language and the harsh anger which has built up inside to terrify Mary to get her to divulge her information to the court, â€Å"Aye naked! And the wind will, gods icy wind will blow! † His use of the word icy creates the chilling ominous threat to all the people who are dishonest and shows that he himself would not do it or he would be severely hypocritical. This, from what he said, is the first indication of his stern and ethical character and that Mary’s character is frail and easily manipulated both by Abigail and Proctor. Not only does the dramatic structure give the end of the act a dramatic finish but also the end of the act uses language to get across the seriousness and religious terror being brewed in Salem. Act three is set in the courtroom, the cases are being investigated and the questions and debating ensues. Mary now forced by Proctor to support Goody Proctor tells the court that she lied the day before. However she shows her weakness when she herself is blamed by Abigail, and cracks when Abigail condemns her by pretending that there is a spirit conjured by Mary, â€Å"Let me go Mr Proctor, I cannot, I cannot†. This leads to Proctor to loose his cool and condemn Abigail for doing all of this to spite him and to rid the world of his wife. He now has to admit to committing the sin of adultery: â€Å"I have known her sir! † This leads us to the turning point in the play. Proctor reveals to the court that his wife never tells a lie and that she would tell the court about his affair. By stating the truth it would obviously mean that she was telling the truth about the witchcraft and proving her innocence but would she be able to disgrace Proctors, name, which means so much to the people of the time period that the play was set. Miller’s dramatic structure brings the play to a mini climax if not the most important one by great structuring of the play; the play reaches a cross-roads. If Goody Proctor tells the truth it undermines everything that Abigail has said and shows her as a liar and everyone wrongly accused is released and brings about the end of court. But if she lies it means that all the people who have kept their morality and not lied will be charged. It defines the future of the factions and the play, having been built up throughout the opening acts. This is well dramatically structured to create complete unpredictability and a sense of curiosity as to how it will end. She is brought in and interrogated. Goody Proctor’s body language portraits the tension: â€Å"liking her lips to stall for time† now created in the court, as they all know this is the defining moment. She thinks about what she should say and â€Å"glances at Proctor† looks for help. In, agony, she answers the questions. Hard thought and constant silent pauses build the pressure within the room, â€Å"Is your husband a lecher? † Danforth the judge asks her. â€Å"No. † The pressure is lifted and the stomach churning feeling of the characters and audience takes over, this is summed up by the comment, â€Å"oh god! † when Goody Proctor realises what she’s done. But by lying, going against everything she stands for. She obviously forgives Proctor as she took one for him when he had committed adultery this shows the romantic drama that she loves him so much she would give up her morals for his name. Abigail then starts off again pretending to draw attention on to herself, that Mary is conjuring spirits and uses her power to create mass hysteria. Miller liberally uses exclamation marks to emphasise the shouting and adding to the general madness of the courtroom. Abigail’s actions are dramatised and create a lot of fear, â€Å"Abigail pointing with fear† and which is added to by having all the girls at once shouting. It gives a fearful representation that the girls are possessed by some sought of satanic spirit. Mary shifts the blame onto Proctor who is then accused by the court. This is dramatically used as the story declines after the climax in act three and the story needs to be built up quickly to reach the final climax. In Act four this is done by the hysteria and the fact that Proctor is now being blamed by Abigail and ironically the reason the trouble started was because she wanted him, now she is getting rid of him and achieving nothing. In Act four Proctor has an emotional talk with his wife as she tries to persuade him to confess and be released. Miller goes to work on giving the audience’s heart strings a pull using again language and stage actions to show the emotions of love and despair and create a great sense of drama using dramatic devices. Goody Proctor has forgiven him and believes; whatever, he does â€Å"it is good man that does it†, and thinks she drove him to have an affair. She states that, â€Å"John, I counted myself so plain, so poorly made no honest love could come to me! Suspicion kissed you when I did†. She thinks that there was nothing to love about her and before it was not her who kissed him but personified. This also implies that now when they talk and hold each other it is pure love for the first time in their relationship bringing a sense of romanticism to the ordeal that they’ve been through. Miller’s dramatically structure places the conversation before the final and ultimate climax to act as the calm before the storm and to increase the pressure on John and ultimately be decisive to the final sequence of events. Proctor is to be hung but because he was persuaded he confesses but all the official figures want his confession in writing. By doing this he is giving up his, name. He realises that he will die before he will give up his name and rips up his â€Å"life† which he had signed. This then brings us to the most powerful and dramatic action within the whole play in my opinion as, â€Å"His breast heaving, his eyes staring, Proctor tears up the paper and crumples it, and he is weeping in fury, but still erect. † This shows that he will not sign away his, name, showing his courage. He has thrown away his life but still stands â€Å"erect†, they’ve pushed him all the way physically and mentally but he has not fallen keeping his dignity, ethics and pride, which we know mean so much to him as does his life which is why it is so dramatic. Miller has created a twist luring the audience in with Goody Proctors persuasion, hooking them in with signing the confession but masking the fact he was to â€Å"rip up his life,† and die for what he believes and becoming a type of martyr or tragic hero. Miller’s, The Crucible, is structured to gain dramatic effect. Each act takes on the same structure and has very similar properties. The first two scenes to begin with build up information about different events, which take place off stage. All acts build up to a climax, giving away hints about the next act and each act ends with pressure being placed on a certain character. Act one it is Tituba; act two it is Mary; act three Mary and Mrs Proctor and act four John Proctor. â€Å"The Crucible† is a fitting name for the play as a crucible is a melting pot, which eventually displaces the pure from the waste. Which also happens in the play each act is a small melting pot as in act one, the different things are added by way of the story being built up and then heated. The heat in act one is Hale and overall the whole play is a melting pot. The story built up, the heat added by the way of the court and the pure displaced from the waste. The pure, being the characters that wouldn’t pass on the blame because they were too strong and would not give up their morals. The irony is that the people who deserved to be killed i. e. Abigail and Paris compared to the remorseful Proctor and the innocent Rebecca nurse. Miller created a dramatic play by incorporating dramatic language, stage directions and the play is structured in such a way that it gives the audience an abundance of drama.

European Integration And The European Union - 1638 Words

Although European integration has primarily come about through the European Union and its policies, the idea of a united Europe can be traced back to Ancient Greece. The first we hear of Europe as a geographic concept was in the 7th/8th century BC through the infamous Myth of Europa (Greekmythology.com, 2015). The myth is about a Phoenician princess, Europa (after which the continent was named), who has a dream where she was called to by an unknown land telling her, she belongs to it (Greekmythology.com, 2015). Although this does not describe the geographic boundaries of the continent, it never the less goes to show that the concept of Europe being as one is nothing new. However, it was only until the Roman empire in 200 BC that brought†¦show more content†¦CULTURAL INTEGRATION By the end of the 4th century BC, the geographical concept of Europe gains a cultural dimension defined by Christianity. The Roman Empire had collapsed and Christianity emerged as a unifying force during the Middle Ages. This gave way to the rise of Europe as a cultural idea; one with a shared religion, Latin as the shared language of education and one with a stronger territorial identity in face of what were seen as external threats – namely Muslims of the Middle East. This perceived enemy was very important in constituting that unifying force. The previous Roman and Greek feeling of civilizational superiority becomes a moral superiority of which the belief that Christians were not only better than non-Christians, but also had a duty to preach their beliefs to others, was common. As a result, the European population unites behind the crusades from 1099 as they fought the Muslims in Jerusalem in battles which lasted almost 200 years. This tension over Jerusalem is still seen t o this day which once again shows that this European integration has always been bound to happen. RACIAL INTEGRATION Until the end of the 19th century, Europe maintains itself as a cultural idea. Any attempt to become a political entity is not taken seriously due to the rise in nationalism and the emergence of the nation state. This situation, however, changed with the developments of the 20th century. The criticism of the Church and