Yin and Yang The Theory of Opposite Forces

Yin and Yang The Theory of Opposite Forces You may have heard of yin and yang and wondered what exactly they mean and how the theory explains how they work. Yin and yang are basically the meaning of opposite factors. There are two basic concepts associated with the theory of yin and yang: The difference of opposite factors in any system The relationships that exist between these forces. Yin and yang are complimentary to each other, and both are required to create and engage a positive environment. The normal and healthy existence of everything in nature relies on the enhancement and interaction of the two different forces. These forces can come in just about any element that has opposites. Some examples include: Day and night Summer and winter Work and rest Man and woman When there is an antagonistic kind of relationship between any of the opposites it can lead to destruction, but is because of opposite forces that the balance in nature is continually maintained. Yin nourishes and supports Yang and Yang supports and nourishes Yin. This relationship is dependent on the other, yet opposite and independent of each other. Opposites can hold each other in a balanced state and be able to exude control mutually. Everything in the world physically has an opposite. This theory applies to things as basic as having a front to things and a back. Birth is opposite of death, recession is opposite of an economic boom. In addition, the theory of yin and yang holds that there are not advantages present without disadvantages and there are not disadvantages that are present without advantages. Yin attracts the forces of Yang and Yang attracts the forces of Yin. The theory also holds that Yin gradually turns Yang and Yang gradually turns Yin.

Heroes And Heroines Essay

Historically, fairy tales and other folklore have followed relatively strict gender role profiles. The heroes or heroines of the story all tend to be handsome or beautiful, compassionate and kind, which always wins out. Meanwhile the villains and antagonists are almost directly opposite in physicality, are ugly or brooding in nature, which shows a clear contrast between themselves and the hero or heroine, and an ever-impending conclusive loss at the end of the narrative. In the examination of folklore, one can see that common aspects of gender roles can be found in almost every fairy tale ever created. The Brothers Grimm are well known for their collection of fairy tales and folklore literature, many of which reflect these gender roles. An analysis of three of their more popular works; mainly Rapunzel, Rumplestiltskin, and The Old Woman in the Wood, show clear gender roles and allude to the perspective of the culture in which they were created. The story of Rapunzel reflects a clear gender role stereotype commonly found in fairy tales and folklore. Rapunzel is the helpless maiden in need of saving, stolen from her family and confined to a high tower by the evil Enchantress. The Prince would be considered the hero of this story, finding Rapunzel trapped in the tower and conspiring to help her escape from her prison. However, the fable of Rapunzel is unique due to the fact that the Enchantress exiles Rapunzel to the desert to live in misery for the rest of her life and swindles the Prince into becoming trapped in the tower as well. The Prince jumps from the tower and ultimately reunites with Rapunzel, where they live happily ever after. The gender roles of this story clearly reflect the beautiful (but quite helpless) female in need of saving, as well as the handsome hero coming to the rescue. Although the story takes a turn and the evil D’Amico 2 Enchantress, who follows almost to the T a female fairy tale villain (Rapunzel can be quoted in the fable as saying, â€Å"Tell me, dame gothel, how it happens that you are so much heavier for me to draw up than the young king’s son?† the hero Prince and Rapunzel still find happiness. Rumplestiltskin also shows clear contrast in gender roles, with similar  gender stereotypes as the fable of Rapunzel. In this particular story the Miller’s Daughter could be considered the Heroine, in which she becomes the Queen and works against Rumplestiltskin to save her child. However, even though the Queen plays an influential role in the story and ultimately outsmarts Rumplestiltskin, she still falls into the gender stereotype of a helpless female in need of saving. When her father brings her before the King and proclaims she can spin gold from straw, she is essentially helpless and awaiting the death sentence that failure would bring. Rumplstiltskin plays a unique role in the story however, playing both savior (at least temporarily) and ultimately the villain. As per the gender standard in the story Rumplestiltskin sweeps in and saves the Miller’s Daughter by helping her spin the straw to gold and keeps her from death. Rumplestiltskin transforms into the villain when he tries to take the Queen’s child, loses his bet, and destroys himself in frustration. The story of The Old Woman in the Wood reverses the established gender roles and is relatively unique in that the helpless character in the particular story is one the reader wouldn’t necessarily expect. The poor servant girl plays the role of the Heroine in this story, where she becomes involved in the plight of a dove while wearily traveling through the forest. She unlocks several aspects of a great tree in assistance of a dove seeking her help, each time receiving items such as food, clothes, and a bed. Ultimately the dove asks her to help one last time by acquiring a small plain ring from the house of an old woman with an extensive collection of rings in her home in the woods. The servant girl complies and is able to get the ring from the old woman, who puts up a rather big fight, before returning to the great tree. After leaning against the tree, it changes into a Prince who explains to her that he had been trapped by the old woman. â€Å"You have delivered me from the power of the old woman, who is a wicked D’Amico witch.† The gender roles are clearly defined here, although switched. The Prince in this story is the helpless individual in need of saving and the Heroine is the one who, although unknowingly, sweeps in to save the day from the evil witch. Once again, as with almost every tale in folklore, the couple lives happily every after and the witch is beaten. Although gender roles in folklore and culture can potentially switch, with both males and females fulfilling the roles of Heroes and Heroines, almost every story tends to follow the same gender role guidelines. The (sometimes) handsome prince/ male saves the helpless female from the evil witch or enchantress, where they live happily ever after. Published in 1812, these stories by the Brother’s Grimm were influenced by the culture of the time period, which is what mostly defined the gender roles in each story. It is important to remember that most folklore, although around for ages, was adapted to fit into societal roles in each culture. The stories published in the 1800’s reflected the cultural roles of women in that society as underprivileged homemakers (which is why most stories, at least by the Brother’s Grimm, tend to cast the female as subservient and helpless); as well as their hopes and aspirations for the future, which were prevalent in most stories involving Heroines or other similarly empowered women. Works Cited Carnegie Mellon School. â€Å"The Old Woman in The Wood.† N.p., Nov.n2004. Web. . Carnegie Mellon School. â€Å"Rumplestiltskin.† N.p., Nov. 2004. Web. . Carnegie Mellon School. â€Å"Rapunzel.† N.p., Nov. 2004. Web. .

Patterns of Knowing

Explain the various patterns of knowing as they influence theory construction or development in nursing: In 1978, Barbara Carper identified four types of knowing in nursing. The first type is called empiric knowing and represents knowledge that is verifiable, objective, factual, and research based. The second type called ethical knowing provides us with knowledge that is about what is right and wrong and what are good and bad, desirable and undesirable. The third type of knowing is labelled aesthetic knowing. It gives us the knowledge that focuses on the art of nursing – tacit knowledge, skill and intuition. Also, there is personal knowing and this represents knowledge that focuses on self-consciousness, personal awareness and empathy. Chinn & Kramer (2008) mention an additional pattern of knowing labelled emancipatory knowing The fundamental reason for developing knowledge in nursing is for the purpose of creating expert and effective nursing practice. It is through inquiry processes for each pattern that knowledge is formulated for the discipline. The main concept of knowledge is that all patterns of knowing form an integrated whole, and the whole of knowing is essential as a basis for best practices in nursing. Chinn & Kramer(2008) states failure to develop knowledge integrated within all of the patterns of knowing leads to uncritical acceptance, narrow interpretation, and partial utilization of knowledge which is called â€Å"the patterns gone wild†(p. 20). Chinn & Kramer (2008) also states that a shift to a balance in knowledge development to reflect each of the patterns of knowing in nursing holds potential to bring the realm of knowledge development and the realm of practice together. Bringing together â€Å"knowing† and â€Å"doing† is praxis-the synchronous, thoughtful reflection and action to create a desired future of emancipatory change. Images of a desired future are not confined to any one pattern but rather are reflected in all knowing patterns (p. 22). If we as a discipline fail to integrate all patterns of knowing to further develop nursing theories and knowledge, the gap between knowledge and practice will never lessen. References: Chinn, P. L. & Kramer, M. K. (2008). Integrated Theory and Knowledge Development in Nursing (7th ed. ) St. Louis, MO: Mosby Elsevier

Native American Art A Modern Artist Kent Monkman

The history of European presence on the North American continent is tragic and violent for the indigenous peoples. Though Europeans brought with them horses and materials, such as cotton that were more easier to work with than animal hides, ultimately Euro-Americans took more than they ever gave. Native American art shows some of that battle to retain their identity as people under the marginalization Euro-Americans. That marginalization has happened from the first exposure of Europeans to North America to present day society under the banners of United States of America, Canada, and Mexico. Early in the United States history was an artist, Wohaw who drew a picture titled Between Worlds. He went to a boarding school that tried to cement†¦show more content†¦Wohaw draws himself with color pencils in Between Worlds, standing in traditional garb, a loincloth made of two long strips of cloth that reach his ankles. He wears his hair long and holds out a tomahawk in boths hands ho lding off a buffalo and a bull. One of his feet stands on a miniaturized house and field while his other foot stands on miniaturized herd of buffalo. On that side of the page there stands a teepee --which is much larger than the house, reaching his to thigh in height. Above his drawn self who faces the bull he has written his name, above which he has drawn a stylized sun. In the left side of picture on the side of the buffalo is the moon and star. The bull and buffalo seem to be blowing at Wohaw and he seems to be holding them off. Though the picture is not drawn with much technical skill the meaning behind it is potent. Caught between cultures of a Plains tribe and the Euro-American dominating society. The picture seems to indicate that he identifies, or is being identified more strongly with his Native American heritage, yet both sides to be actively at odds. There is no indication of peace to be for between the two. Euro-Americans were invasive and made decisions for Native Amer ican peoples without their consent, this reflects in Native American art. Kent Monkman who is descendant from the Cree in contrast to Wohaw is