Social Relationships in Childhood

The children, who lack healthy, primary relationships, are likely to suffer from social problems in life. According to Berk (2009), the lack of sensitivity towards a child, by primary caregiver promotes the occurrence of problematic behavior patterns later in life. The failure to build effective relationship with a child disrupts security attachment; hence enhancing the occurrence of insecure, disoriented or disorganized behavior.Advertising We will write a custom essay sample on Social Relationships in Childhood specifically for you for only $16.05 $11/page Learn More The caregiver should be sensitivity to the needs of a child and offer effective response that matches the child’s emotional state. It is important for caregivers to be sensitive to the child needs and responds effectively in emotional sense in order to promote proper development of attachment security. Furthermore, parents need to demonstrate consistent reaction to children actions in order to avoid arousing fear and uncertainty, which are predicator of problematic social behaviors, later in life. The most effective strategy for helping a child who has had insecure relationship with parents, to develop health social behavior, is the application interactional synchrony during communication. According to Berk (2009), interactional synchrony is a sensitive mode of response to child’s signals. It involves timely and effectively matching the child’s emotional state. It includes face-to-face play as well as warm and sensitive handling of the child in manner that matches the emotional cues given by the infant. It enhances the child’s control and coordination of emotions, which in turn promotes the development of appropriate social behaviors. Reference Berk, L. E. (2009). Child Development. Boston, MA: Ally Bacon, and Pearson Custom Publishing, pp.420-434 and 564-572. This essay on Social Relationships in Childhood was written and submitted by user Ainsley Avery to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Literary Analysis For Fahrenheit 451 Essays - Social Science Fiction

Literary Analysis For Fahrenheit 451 Essays - Social Science Fiction Literary Analysis for Fahrenheit 451 In Ray Bradury's novel, Fahrenheit 451, there is a very commonly known as a book of science fiction book. More specifically one that refers to the future, and the consequences that can be inflicted as a result of the world having very little individuality. However, this book also has had a long lasting effect on the world as we know it to be presently. Bradbury is obviously very concerned with the world, and how it is losing its individuality. This novel represents the differences of having indiviuality versus conformity. Ray Bradbury is also concerned with people's willingness to act out upon things that are seldomly attempted because of fear of persecution. As the story is plotted, the people of the United States, who are unaware of their true potential, walk through their lives as if they were programmed robots or machines that are not able to think for themselves. The government, both federal and local, have threatened an frightened the people of the nation. Because of this, the people are afraid to act out upon the government because they are afraid of becoming isolated in the world. Different from the world that we know, the poeple are not taught to read at school, or at their homes. If a person attempts to even take possession of a book, they have all of their possessions taken away from them and their houses burned. Therefore, as time progresses the poeple become more and more ignorant about the world around them and its potential. One good example of showing how the people have lost their individuality is when Clairisse shows up in town. The town is a very happy and quiet town, but when this seventeen year old girl shows up in town, she immediatley has effects on people. Montag is the one person that would listen and understand her. She would continually ask him questions all of the time, an Montage would get annoyed by it. However, after that, he realized that the world was a much more bigger and intrigueing place. He started reading books in secrecy and soon became very aware of the potential that people had in them. Another example is when Montage started to read a book aloud to guests at his house. Mildred invited her friends over to watch a form of television. Montag got angry at how the women were so ignorant. When he started to read aloud from a poem, even though the women were somewhat intrigued by the poem they were still frightened. This conformity that plays a such large role in the women's lives is a prime example of how stubborn and unaware the people are. A very good example of how ignorant the people are is how they allowed the people with influence to change the past. For example, during the time period in the book the firmen were taught to start fires. They were even told that in the past the firemen were always starting the fires. People were so ignorant that they didn't even stop to gain logic about that fact. In conclusion, Ray Bradbury wrote this novel not just to entertain the reader. He probably also wrote Fahrenheit 451 to get the people to understand what could happen to the world if people begin to stray off towards conformity, and lose their individuality and ability to speak their opinion.

Philosophy of Art Monroe Beardsley's Aesthetic Definition of Art Essay

Philosophy of Art Monroe Beardsley's Aesthetic Definition of Art - Essay Example The paper will review the min concepts and definitions of art proposed by Monroe Beardsley, and then, critically review the proposed concepts. In this, its ultimate role is to provide a critique of its own conditions of possibility. And, as is well known, for Beardsley this became a matter of artists acknowledging the flatness of the picture plane as a way of asserting what they took to be the essential fact about the nature of painting. Beardsley defines artwork as: "something produced with the intension of giving it the capacity to satisfy the authentic interest" (Beardsley 57). Beardsley has in mind such audience responses as noticing details, recognizing patterns, making interpretations, filling in the work, etc (Beardsley 55). It is against this understanding of avant-garde art, the genuine art of the contemporary world, that Beardsley articulates his understanding of modern art. Avant-garde art is abstract, whereas modern art ostensibly favors representation. Avant-garde art is reflexive, whereas modern art is generally imitative. Avant-garde art is introverted -- it is about itself (it is about its medium). Modern art is extroverted; it is about the world. Moreover, in being introverted, avant-garde art is detached from practical affairs and disinterested, whereas by representing the world, modern art is implicated in practical concerns (Beardsley 55). In order to accomplish this, genuine art must be difficult, whereas Beardsley believes that modern art can be enjoyed without effort. Moreover, this emphasis on the active response of the spectator in genuine art is what leads Beardsley to nominate avant-garde art as the genuine art of our times, since avant-garde art requires an active spectator to fill in its open structures. Thus, avant-garde art can be said to preserve the central value of art properly so-called. For art properly so-called has always been dedicated to engendering active spectatorship. Indeed, commitment to this role, it would appear, is a necessary feature of art for Beardsley, as it is for many other modern theorists of art. On the other hand, Beardsley maintains that art involves 'unreflective enjoyment'. It abets passive spectatorship -- of the sort putatively evinced by 'couch potatoes' -- whereas Beardsley, with the authority of a long tradition behind him, presumes that a necessary feature of genuine art in volves a commitment to active vowing (Beardsley 56). Avant-garde art accords with this profile. In order to appreciate it, a certain sort of knowledge and background information will have to come into play, if, for example, one is to identify the reflexive comment that an abstract array makes on the nature of painting. Beardsley argues: "once we know what things are artworks in a particular society, we can identify artistic activities by discovering which activities involve interaction with artworks" (Beardsley 57). To interpret such a work one must be initiated into a certain discourse and, even after one assimilates the relevant art discourse, a great deal of cogitation will still be required in order to apply that discourse with understanding to the painting at hand. Such painting demands intellectual work from the spectator because of its hermetic structure, which serves as a difficult obstacle, or puzzle,