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Sunday, November 27, 2011

The Vexations of Vehement Visual Violence


Regan Bloss
Nikki Morrell
Honors English IV
November 20, 2011
The Vexations of Vehement Visual Violence
Millions of kids grow up watching cowboy shoot-em-ups, weekend "creature features," and good ol' cops-and-robbers crime dramas; however, with so much violence on our televisions today, the question of whether television violence is having a negative effect on society begs to be answered. To answer this question it is imperative to examine the biological perspective of aggression, then analyze the academic criminologist perspective, before determining how big of a negative impact media violence really causes. In a nutshell however, media violence, more specifically television violence, has a profound biological impact, which causes significant measurable effects on criminal behavior and resulting negative effects on society.
Neurobiologist Dr. Debra Niehoff, in her science-journal article The Biology of Violence, explains that violent behavior is a result of a developmental neural process. It is not a trait that someone is born with or someone grows out of, instead violent behavior is developed through a series of interactions between a person and his or her environment. These interactions trigger emotional responses, which are recoded in the nervous system by means of chemical messengers, or neurons. Niehoff extrapolates on this fundamental neural concept by analyzing the link to actual aggression. If the "dialogue" between a persons environment and themselves is largely positive, then a persons nervous system is more likely to develop in a "socially acceptable" way. On the contrary, negative environmental impacts on a person impair a persons ability to cope with the challenges of life, which in turn harbors "socially unacceptable" behavior. Often times, a person who has experienced a negative environment will overreact and feel threatened all the time, or under react and not fear punishment, authority, or getting hurt. Either way, a persons judgment is seriously impaired when being exposed to negative occurrences, which includes viewing violent television shows (Heins 32-33).
This theory is re-affirmed by professor of psychology at Stanford University, Albert Bandura, who explains the social-cognitive theory of aggression from a cognitive-neoassociationistic perspective. The theory contends that people observe important role models, make inferences and attributions, and acquire scripts, schemas, and normative beliefs that then guide their subsequent behavior, (Bandura, Martino, Chory-Assad).
Critics of this theory disregard its evidentiary support, which proves that a persons experiences, including watching violent shows, are the causational factor in aggression, because there are a number of third-factor variables to take into account. That is exactly why Dr. Rowell Huesmann, collegiate professor of communication studies and psychology in the Institute for Social Research of the University of Michigan, performed a number of correlational studies, which monitor the relationship between watching violent TV and acting aggressively. Huesmanns fifteen-year study controlled the myriad of third-factor variables, including prior aggressive behavior, by localizing specific variables and then testing for each one (Huesmann, Martino). The evidence concludes that the social learning of violence through the media is a direct cause of aggression. This is because biologically people are more likely to act in an aggressive way if they are repeatedly exposed to violent experiences where the aggressor is either praised or not reprimanded for his actions (Hearold, Martino). In other words, monkey see, monkey do.   
By the same token, television violence is a key facet to societal aggression and criminal activity says criminologists and ethical perspectives alike. Joanne Savage, assistant professor in the Department of Justice, Law and Society in the School of Public Affairs at American University, alludes to the fact that people are ethically obligated to oppose violent television shows because they inherently harbor aggressive behavior and impact society in a negative manner. Likewise, if one believes in societal justice and the notion that taking ones life is a dire action, then one should also acknowledge any susceptible threat to causing aggression, including watching a violent television, by being apposed to it. Simply put, social cognitive theory and moral justification obligate those who are opposed to aggression and death to oppose any external factor that causes aggression or death, including violent media (Heins 34-37). 
The final component in answering the initial question also seems to be where most of the debate lies. To what extent is violent-media-caused aggression affecting society? Part of the answer lies in solving for the common misconception that experimental data and real-world situations are compatible. Unfortunately and inconveniently they are not. The fact is, while the measurable affects of media violence, with regards to criminal behavior, are statistically significant, they are comparatively small when determined in the real world (Heins 34).
Consequently, while studies and theories like those performed and formulated by Huesmann and Bandura statistically and logically prove that media violence has a profound effect on society, real-world conditions, which include incalculable variables, are the reason for media violence having little direct effect on society. In any event, the logic behind social-cognitive theory and years of research, which provide substantial evidentiary support that media violence has a negative impact on society, cannot merely be disregarded due to its incompatibility with the real world. Instead, it would be pragmatic to take into account such evidence when determining a solution to the mounting problem of societal aggression. After all, difficulties exist to be surmounted, (Emerson).

Works Cited
Bandura, A. (1986). Social foundations of thought and action: A social cognitive theory.
Englewood Cliffs, NJ: Prentice Hall.
Chory-Assad, Rebecca M., and Dana E. Mastro. Violent Videogame Use and Hostility
among High School Students and College Students. N.p.: Department of Communications, n.d. Boston College. Web. 20 Nov. 2011.
<http://icagames.comm.msu.edu/VGU&H.pdf>.
Emerson, Ralph W. The Essential Writings of Ralph Waldo Emerson. N.p.: n.p., n.d.
Web. 20 Nov. 2011.
<http://thinkexist.com/quotation/difficulties_exist_to_be/182179.html>.
Hearold, S. L. (1986). A synthesis of 1043 effects of television on social behavior. In G.
Comstock (Ed.), Public communication and behavior (Vol. 1, pp. 65133). Orlando, FL: Academic Press.
Heins, Marjorie, Joanne Cantor, Henry Jenkins, Debra Niehoff, and Joanne Savage.
Violence and the Media. Nashville: First Amendment Center, 2001. 22-27. Print.
Huesmann, L. R., Moise-Titus, J., Podolski, C. L., & Eron, L. D. (2003). Longitudinal
relations between childrens exposure to TV violence and their aggressive and violent behavior in young adulthood: 19771992. Developmental Psychology, 39, 201221.
Martino, Steven C., Rebecca L. Collins, David E. Kanouse, Marc Elliott, and Sandra H.
Berry. Interpersonal Relationships and Group Processes. N.p.: n.p., 2005. 2-3. Rand Corporation. Web. 20 Nov. 2011.
<http://www.rand.org/pubs/reprints/2008/RAND_RP1312.pdf>.

Friday, November 11, 2011

Guide Through Hell- "Speak of the Devil"


“Speak of the Devil”

If I were to take a trip through hell and needed a guide, I would with out a doubt choose the devil himself. Who better than the head honcho of hell himself to lead me through his kingdom? (Alliteration J) But to truly determine whether the devil is a good choice as a guide through hell, it is imperative to analyze whether or not he has the necessary characteristics of an effective guide like Virgil.
One necessary characteristic of a guide in hell has to be his “know-how” in getting around. In this aspect, the devil is the perfect individual for the job. Who knows hell better than the devil? This aspect of the job is particularly important because without the proper “know-how,” a trip through hell would be virtually impossible. For instance, if Dante did not have Virgil as his guide, then he would not have known to throw one end of his belt into a ravine filled with black water, which summons Geryon, and transports him to the final zone of the seventh circle of hell. Knowledge like this is crucial to a guide, and without it, the guide is useless. Therefore, Satan would be the perfect individual for the job simply because he knows his way around hell like the back of his hand.
The second vital characteristic of a guide through hell is that he has to have a commanding presence. Time and time again we see the necessity of Virgil’s commanding presence. Without a commanding presence, Virgil would be unable to progress in his quest through hell, and would then be unable to guide Dante through hell effectively. This same characteristic needs to be found when determining an effective guide through hell, and because Satan has this characteristic, he would once again be the perfect man for the job.

Canterbury Tales Poem- Charlie Sheen ;)


Another man that I did see
On April’s road to Canterbury
Walking through the fields of green
Was none other than Charlie Sheen
Trying to find a job again
He had been fired from Two and a Half Men
Only a stripper would get him grinning
A pile of coke… duh winning
At telling jokes he was a butcher
He had been replaced by Ashton Kutcher
His whole career had been a dud
A life lived off of tiger blood 

Casting of the Canterbury Tales

1. The Franklin: played by Robert Downey Jr.
            The Franklin, who accompanies his good friend the Lawyer, is a prominent, prosperous, and wealthy man. He is a rather generous and extroverted person, who is predominantly concerned with external things or objective considerations, and likes good food and good drinks. Having the Greek philosopher Epicurus’s out look on life, or the ideology that one should indulge in the utmost of pleasures, he openly invited anyone to come by his home and dine with him. (Lines 331-360)     
The Franklin would be played well by Robert Downey Jr. who is trademarked by playing rich and often exorbitantly wealthy men. Robert Downey Jr. played Tony Stark in the critically acclaimed box office smash hit “Iron Man.” Iron Man’s Tony stark was an exorbitant and overly wealthy man who might be considered Epicurus’s son. Like the Franklin, Stark enjoys the pleasures of life, and there is no pleasure that can escape him. 
Being that Tony Stark and the Franklin are very similar, Robert Downey Jr. would be perfect for the role as the Franklin.

2.  The Clerk: played by Tom Hanks
            The Clerk is the first admirable church member we meet on the pilgrimage. We also learn that the term "Clerk" is used as a cleric, a student, or a scholar. Thus the Clerk can be characterized in two main ways; the first is his love for learning about god; and the second is his will to be a scholarly and knowledgeable man, who in many cases would rather buy a book than a material good. (Lines 285-308)
            The Clerk would be played well by Tom Hanks who is known for playing serious, smart, and even religious characters. Tom Hanks starred as Robert Langdon in the 2006 blockbuster hit “The Da Vinci Code.” Langdon was a religious scholar and was passionate in learning the truth about religious mysteries such as the development of Christianity; so much so, that he got caught in the middle of a murder case with a two-thousand old society who has protected the secret of Christianity for thousands of years.
            Tom Hanks would be the perfect actor for the Clerk because of his extensive acting of humble religious scholars.

3. The Shipman: played by Geoffrey Rush
            The Shipman is a ship's captain, and the most skilled seaman from here to Spain. He feels more at home on the deck of ship than anywhere else, and is definitely not above piracy, or a little larceny. The Shipman is also a “hard” man and does not take prisoners in a sea fight. (Line 388-410)
            The Shipman would be a good role for Geoffrey Rush who has an extensive background in playing pirates. In fact, Geoffrey Rush played Captain Hector Barbossa in the “Pirates of the Caribbean” trilogy. Barbossa is one of the nine pirate lords, and unlike Capatin Jack Sparrow, is far more “firm” in terms of characterization. Furthermore, Geoffrey Rush, who plays Barbossa, would better serve as the Shipman, rather than Johnny Depp, who plays Cpatain Jack Sparrow, because he is far more likely to take drastic action and actually not take prisoners. On the other hand, Captain Jack Sparrow is “soft” in terms of characterization and would not fit the role of the Shipman as well.
            Thus, because of his extensive background, and his better suited characterizations, Geoffrey Rush is the best person to play the Shipman in the Canterbury Tales.