Teamwork Reflection, Questions and Answers - 790 Words

1- What role did you play in team meetings or discussions (online or face-to-face)? What ideas or. work did you contribute? Consider your verbal (vocal or written tone, etc.) and nonverbal communication (body language, facial expressions, etc). When I have to work in a team, I try to reach success with others participants in assigned activities. I do not take the role of leader or follower. I consider myself just another participator, but always thinking about doing everything right and clean. I have always had in mind that teamwork are all those actions and activities that are carried out collectively. In order for there to be an excellent group work, I think is necessary is that the actions are developed collectively. This means that to carry out group work, the existence of an entertainer or coordination is not necessary. The collective performance of an action is sufficient, within the framework of mutual interaction. I am very careful with facial expressions because I want to create a friendly and harmonious environment around me. When Ive been around other people, Ive never tried to show faces expressing inattention, anxiety, anger, mockery, and laziness. Since I want people to take my ideas seriously, I always try to use facial expressions that show positivity, motivation, happiness, and energy. When I participate in online teamwork, people may not see my facial expressions, but they can perceive my desire to make things right, and the respectful attitude that IShow MoreRelatedWho Is A Leader?892 Words   |  4 Pages Many believe that in order to be a leader one must have all the answers; however leadership is more about asking questions than it is about giving answers. The truth is that no person will ever have all the answers in every situation. It is through the process of skilled, intellectual inquiry that leaders are able to guide their teams to success. 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Youthful Initiative Narrative Voice and Characterization...

It is the rare person who cannot remember being dealt a great injustice as a child: one that felt egregious in youth, but was revealed to be perhaps less so with time. This shift in perception is due to the fact that children tend to see things in black and white. Therefore, a sign of nascent maturation is an understanding of the incalculably vast grey scale that lies between the two absolutes. In Maxine Clair’s Rattlebone, the reader is privy to the thoughts of Irene Wilson thro ughout the stories â€Å"Secret Love† and â€Å"October Brown†. This youthful viewpoint is what allows the reader to glean an understanding of not just Irene as an individual, but the nature of growing up into a world that is unnervingly contrary to the simplistic one†¦show more content†¦As a teacher, it is Brown’s duty to first to be loyal to the children in her care. She breaks this unspoken agreement when she endangers the unity of Irene’s family by having an affair with her student’s father and so, in Irene’s mind, must be removed from the role she dishonors. The morally rigid model that Irene clings to in â€Å"Secret Love† and â€Å"October Brown† drives her actions in both. In the first, Irene desperately tries to fill the role vacated by her mother, she makes James’s dinner and â€Å"[ladles] gravy over it just so†, does dishes standing â€Å"up to [her] elbows in dishwater†: performing the traditional roles of a wife (131). Similarly, in â€Å"October Brown†, she takes advantage of being put in a position of power over Brown’s career and lies, saying â€Å"Yes . . . she did† when asked if Brown physically abused a student (19). (Here again is a certain amount of composure in the face of potential emotional trauma: Irene is able to make this fictional claim in a â€Å"level and clear† voice (19).) At the root of Irene’s behavior is the desire to expunge aberrations from a world she needs to believe is just. By using Irene as a first person narrator, Clair gran ts the reader access to a more sophisticated perception of her stories: it is Irene’s strongly contrasting sense of fair and unfair that, when challenged, drives her to try and correct the imbalance. Pearlean unjustly ostracizes James; Irene tries to take up the responsibilities she abandoned. October Brown

John Donne’s Poetic Philosophy of Love Free Essays

John Donne’s Poetic Philosophy of Love For the enormously complex and vexed John Donne (1572-1631), the one in whom all â€Å"contraries meet,† (Holy Sonnet 18), life was love—the love of women in his early life, then the love of his wife (Ann More), and finally the love of God. All other aspects of his experience apart from love, it seems, were just details. Love was the supreme concern of his mind, the preoccupation of his heart, the focus of his experience, and the subject of his poetry. We will write a custom essay sample on John Donne’s Poetic Philosophy of Love or any similar topic only for you Order Now The centrality and omnipresence of love in Donne’s life launched him on a journey of exploration and discovery. He sought to comprehend and to experience love in every respect, both theoretically and practically. As a self appointed investigator, he examined love from every conceivable angle, tested its hypotheses, experienced its joys, and embraced its sorrows. As Joan Bennett said, Donne’s poetry is â€Å"the work of one who has tasted every fruit in love’s orchard. . . † Combining his love for love and his love for ideas, Donne became love’s philosopher/poet or poet/philosopher. In the context of his poetry, both profane and sacred, Donne presents his experience and experiments, his machinations and imaginations, about love. Some believe that Donne was indeed â€Å"an accomplished philosopher of erotic ecstasy† (Perry 2), but such a judgment seems to be too much. Louis Martz notes that â€Å"Donne’s love-poems take for their basic theme the problem of the place of love in a physical world dominated by change and death. The problem is broached in dozens of different ways, sometimes implicitly, sometimes explicitly, sometimes by asserting the immortality of love, sometimes by declaring the futility of love†. Donne was not an accomplished philosopher of eroticism per se, but rather a psychological poet who philosophized about love, sometimes playfully, sometimes seriously. The question, thus, arises as to the nature and content of Donne’s philosophy of love serendipitously expressed in his sacred and profane poetry. I will also argue that this particular philosophical perspective in Donne established the basis for the intimate connection between his profane and sacred poetry in which religious and sexual themes are closely linked and intermeshed. After briefly touching on the intellectual atmosphere in which Donne worked, I will proceed to examine the Ovidian and Petrarchan traditions in Donne’s amatory lyrics, and their respective contributions to his philosophy of love. The subject of Petrarchism was â€Å"love,† of course, emotional and spiritual love â€Å"conceived as a noble way of life, and the lover as an aristocrat of feeling† (Guss 49). Donne’s development in his profane poetry of the nobility and aristocracy of Petrarchan love was by means of these essential themes including, . . . he proem, the initiation of love [â€Å"The Good Morrow†] , the complaint against the lady’s obduracy [â€Å"Twickenham Garden†], the expression of sorrow at parting [â€Å"The Expiration†], the remonstrance against the god Love [Love’s Exchange†], the elegy on the lady’s death [â€Å"A Nocturnal upon St. Lucy’s Day, being the shortest day†], and th e renunciation of love [â€Å"Farewell to Love†]. Other common themes are the lady’s eyes, her hair, her illness [â€Å"The Fever†], the dream [â€Å"The Dream†], the token [â€Å"A Jet Ring Sent†], the anniversary of love [â€Å"The Anniversary†], and the definition of love [â€Å"Negative Love†]. How can a man and a woman achieve a love which is not based on rank sensuality, and yet which recognizes human physicality and ascribes a proper role and function to the body? How can a man and woman love one another with deep spiritual intensity and soulful devotion, and yet at the same time stop short of romantic or emotional idolatry? How can both components of humanity—body and soul—be brought together into a happy synthesis to create a love that eschews the problems of Ovidian immorality and Petrarchan idolatry, but is rather ordinate and rightly ordered? The answers to these questions and the resolution of these tensions are found in Donne’s concept of idealized love generated largely under the influence of a Christian Platonism which establishes the sine qua non of his philosophy of love. It is a philosophy of love that seeks to balance the roles and establish right relations between both body and soul. Donne’s perspective is an attempt at integration, at wholeness, a striving at the reconciliation of opposing, dialectical forces. It seems that ever since the fall of humanity, life has been characterized by division and fragmentation: God vs. man, heaven vs. earth, man vs. woman, body vs. soul, action vs. contemplation, theory vs. practice, and so on. Donne seeks to heal and harmonize at least one aspect of a divided world: his view is body and soul, not body or soul. He defines and describes the component parts of love in light of the comprehensive nature of humanity. His position would seem to answer the questions and resolve the tensions created by the Ovidian and Petrarchan traditions in his love poetry. It would avoid the Ovidian problem of sexual immorality, and Petrarchan problem of romantic idolatry. Love is powerful, and it may very well abuse the body or the soul in its quest for satisfaction. But it can be rightly ordered as well. Donne’s outlook finds an appropriate place for both the body and the soul in a rightly ordered love. When coupled with his devotional poetry, the pattern indeed becomes complete, for it is in the love of God, which is the highest of all love, that human love itself finds its meaning and final reference point. If it is true that all human love has as its source and meaning in the very love of God, then there must be a reciprocal relationship between these two forms of love, the infinite and the finite. God’s love validates human love, and human love reflects and images God’s. There is an intimate connection between love both human and divine. This would certainly be true in Donne’s Christian Platonism in which all things on earth, including human love, are a reflection of and point to things in heaven. How to cite John Donne’s Poetic Philosophy of Love, Essay examples