Summary of Max Webers The Protestant Ethic and the Spirit...

Summary of Max Webers The Protestant Ethic and the Spirit of Capitalism Max Webers The Protestant Ethic and the Spirit of Capitalism is a study of the relationship between the ethics of ascetic Protestantism and the emergence of the spirit of modern capitalism. Weber argues that the religious ideas of groups such as the Calvinists played a role in creating the capitalistic spirit. Weber first observes a correlation between being Protestant and being involved in business, and declares his intent to explore religion as a potential cause of the modern economic conditions. He argues that the modern spirit of capitalism sees profit as an end in itself, and pursuing profit as virtuous. Webers goal is to understand the source of this†¦show more content†¦While important, this alone cannot explain the need to pursue profit. One branch of Protestantism, Calvinism, does provide this explanation. Calvinists believe in predestination--that God has already determined who is saved and damned. As Calvinism developed, a deep psychological need for clues about w hether one was actually saved arose, and Calvinists looked to their success in worldly activity for those clues. Thus, they came to value profit and material success as signs of Gods favor. Other religious groups, such as the Pietists, Methodists, and the Baptist sects had similar attitudes to a lesser degree. Weber argues that this new attitude broke down the traditional economic system, paving the way for modern capitalism. However, once capitalism emerged, the Protestant values were no longer necessary, and their ethic took on a life of its own. We are now locked into the spirit of capitalism because it is so useful for modern economic activity. Throughout his book, Weber emphasizes that his account is incomplete. He is not arguing that Protestantism caused the capitalistic spirit, but rather that it was one contributing factor. He also acknowledges that capitalism itself had an impact on the development of the religious ideas. The full story is much more complex than Webers partial account, and Weber himself constantly reminds his readers about his own limitations. The book itself has an introduction and five chapters. The first three chapters make upShow MoreRelatedMax Weber And Durkheim s Views On Religion1250 Words   |  5 Pagescultural systems that relate humanity to an order of existence. One of the foundations of religion is social orientation that in one way or another influence a society s social stability. Max Weber along with Emile Durkheim were very influential people in the course of social stability in the 19th century. Weber and Durkheim attempted to make comprehensible social changes, particularly in the aspects of religion of a society. Their perspectives on religion differ on some aspects. 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Attitudes Towards Death in “The Lottery” and Death Knocks Free Essays

Attitudes Towards Death in â€Å"The Lottery† and Death Knocks â€Å"The Lottery† and Death Knocks are two stories that mainly deal with death. â€Å"The Lottery† is about a small town that holds a lottery every year where the winner of the lottery is stoned to death by the rest of the town. In Death Knocks, death visits a man named Nat and tells him it is hit time to go. We will write a custom essay sample on Attitudes Towards Death in â€Å"The Lottery† and Death Knocks or any similar topic only for you Order Now Nat plays death in a game of gin rummy where he wins so death has to give him another day to live. The attitudes towards death in these two stories are mainly quite different, however there are a few things that are similar. Death Knocks has a more realistic view of death because in â€Å"The Lottery† the towns people act as if being picked to die for no reason is not a big deal. Death Knocks and â€Å"The Lottery† have very different attitudes towards death. In Death Knocks, when Nat is told that he is going to die he says that he is not ready. Nat implies that he is not ready to die. In â€Å"The Lottery† the whole town acts as though being chosen to die is just another part of their everyday lives. The townspeople act as if the lottery is not a big deal. They all talk to each other and act calmly, then when the winner is picked they carry on with the stoning without hesitating. In Death Knocks Nat states that he has a wife and he wants to talk to her. In â€Å"The Lottery† Bill Hutchinson does not hesitate at all to point out that his wife is the one that won the lottery. This shows that the attitude towards death of spouses is completely different. In Death Knocks Nat cares about his spouse but in â€Å"The Lottery† Bill Hutchinson acts as if his wife dying is no big deal. There aren’t very many similarities in these two stories but if looked at closely one small similarity can be found. When Nat is told he is going to die he says he is not ready. In â€Å"The Lottery† it seems as though everyone is okay with dying. However when it comes down to it and Mrs. Hutchinson is about to be stoned she says â€Å"it isn’t fair†. This shows that deep down she really does want to live. Just like Nat in Death Knocks. Both â€Å"The Lottery† and Death Knocks have very different attitudes towards death but Death Knocks is a more realistic attitude. In â€Å"The Lottery† the town deals with death almost as if it is a game. For no reason someone is picked to be killed. In Death Knocks Nat does not want to die, right from the very beginning of the story. In today’s society there is no way that people being killed for no reason would ever be tolerated or accepted. This is why Death Knocks has a more realistic attitude towards death. How to cite Attitudes Towards Death in â€Å"The Lottery† and Death Knocks, Essay examples

Contemporary Pedagogical Debate-Free-Samples-Myassignmenthelp.com

Question: Discuss about the Contemporary Pedagogical Debate. Answer: Introduction There have been a lot of debates in the recent past on the real meaning of pedagogy in the modern society. Creative arts have no limitation in their place from which they should be taught. Tutors have been arguing for the need to scrutinize technology will transform today's learning. The modern pedagogies in creative arts include transformative pedagogies, discipline-based critical design, cultural diversity, critical, self-sustainability, inquiry learning, reflection learning, personalized learning and reflection learning. A primary importance of education is to make students be able to think critically. It is an essential employment skill whether self-employment or getting employed to work for other organizations(Robbinson, 2011). It is important for every primary school to embrace the modern teaching methods and not just stick to the traditional style. However, there are no quick solutions to change, and it needs time for every parent, teacher, and pupil to understand before any i mplementation can begin individually. Learners in the 21st Century must be furnished with the ability use the new pedagogies will create individuals that are all-round for the betterment of the community. Forms of creative arts pedagogy in the contemporary classroom Critical learning pedagogy The teaching of creative arts is inherent in creating solid knowledge stand similar to creating social justice and democracy. When critical awareness is achieved, students will be able to think critically. A connection is established between the student and the teaching process that will help in establishing the individual's social context. Learning is articulated to all the activities in reading, writing, speaking and thought(Wright, 2003). Mere knowledge only helps in finding a standard solution to an art problem. Reflection on a learning experience is the goal of teaching in with the critical pedagogy. Evaluation of failed parts of the process will necessitate enhancement of those parts only which is easier for the teachers. Freedom of consciousness will enable students to recognize bad tendencies and connect the powers and abilities of knowledge to take a valuable position that is firm. The wisdom in traditional education is deceitful without shifting the social context of creati ve arts(Perkins, 2008). Creative pedagogy Another argument has raised the creative teaching. Most researchers have unanimity of agreement in the series of innovative teaching, teaching creativity and allowing the students to have a creative learning. Researchers in the century have identified that creative learning by a pupil is essential in the completing the creative pedagogy(Tolkien, 2011). The education idea has been overlooked in the professional training of teachers. Teachers need to show the schoolchildren the importance of accepting all possible solutions for tasks and that they can get a new understanding of the ideas. The role teachers in creative learning are overall to the perceptions of the students. Learners of creative arts must be taught how to be creators through a changed learning process. Emphasis is put on the learning process as much as in the final solution without overlooking the other. A learner can differ from a subject of the task in a way to achieve a greater efficiency(Gardner, 1995). The traditio nal methodology of the subject has to be transformed to a means to achieve creative goals. Efficient, creative learners are the products of creative teaching. Cultural diversity A stronger community can be created by putting a lot of emphases to capitalize and develop individual strengths of a pupil. Diversity variables of food, games and gender roles should be supported by teachers as a glorious way to creativity. The variables should not divide the schoolchildren but aim at putting them together. The role of equity is held by the teachers. Researchers argue that students in the modern classroom should be treated with fairness and equality regardless of gender, age, race, disabilities, sexual orientation and religion. An individual idea of a learner must be supported with the same gravity as that put on others'. Teachers must avoid stereotyping of resources and examples. The teachers are encouraged to design their teaching in a way that pays attention to varied groups of learners. The collaboration of diverse groups of pupils has an impact in enhancing diversity. The different cultural experiences of schoolchildren should be used to devise ways that will ad d value to everyone's learning experiences. Assessment of equity has to be part of a course to analyze equality development(Wiggins, 2009). Transformative pedagogies Objects should be used in supporting the teaching of creative arts in primary schools. In object centered learning, students participate in with environmental variables and stimulate curiosity and interest. The relationship between the learner and the object creates a construction that is meaningful. Decoding of objects helps to develop skills like communication and critical thinking that will assist in developing a greater understanding of ones beliefs and assumptions. Creative arts teachers will be enabled by this pedagogy to explore the best emerging practices and articulate archives and collections as teaching objects. It is a source of diversity in the arts curricula. The object in object oriented learning is the mediator to associate the role of instruction and the student. Decoding of objects associatively in a participatory environment transfers skills between the learners(Eisner, 2002). Personalized learning pedagogy The world changes considerably because of innovations. An individualized education program will enhance the flexibility required in the job market. The personalized teaching of creative arts goes a step ahead of the traditional content knowledge. Teaching instructions must be aligned to emotional and social needs of a learner and then individualize the information to design a personal experience. The pace of personalized information will vary according to the needs and mastering levels(Elkins, 2012). The period elapsed to get assessment feedback will allow for a real-time handling of each learner because they have different abilities. It is also purported that the learners will have clear learning objectives away from the general goal of content knowledge. Pupils have various social environments and need not be exposed to a standardized teaching process. The traditional teaching process creates a standardized model that will give learners standardized input and expect standard output . The idea like this has never produced the desired results in the real world thereby creating a need for personalization(Dewey, 1980). Self-sustainability pedagogy Schoolchildren learning creative arts should be enabled to self-evaluate their learning process and success. The knowledge and skills should give the motivation to pursue personal objectives. Students will enthusiastically create solutions to problems that were earlier out of their control. Such personal responsibility, commitment, and initiative using abilities whether an individual or collective will lead to success. The human potential in learners is an interdependence of all environmental factors, and teachers address mental, spiritual, physical and emotional components of the schoolchildren. The students will be enlightened on societal interactions in social lives and governance (Rose, et al. 1998). Design of learning models should value multidisciplinary recognition, objectives and determination of methods, negotiation abilities and flexibility. Conclusion My view is that the modern classroom pedagogy of creative arts in primary schools is that creativity has to be enhanced to give pupils flexibility in solving emerging problems. The application of personal learning and transformative processes has to be applied in education curriculum for creative arts disciplines. The traditional standardized teaching curricula should be altered to accommodate the needs of the modern classroom and to create proactive students and individuals. Finally, the government through the ministry of education should discourage the traditional methodology of teaching as it creates learners who over-adapt to survive in a problem instead of solving the problem. Pupils must be empowered to apply their knowledge and skills in the external environment to enhance enthusiasm and a self-reliance effort to solving tasks. References Clay Gordon, John Hertrich, Peter Jones, Janet Mills, Jim Rose. (1998). The Arts Inspected. London: Heinemann. Dewey, J. (1980). Art As Experience. New York: Perigee. Eisner, E. (2002). The Arts and the Creation of Mind. London,. London: Yale University Press. Elkins, J. (2012). Education for Inclusion and Diversity. Sydney: Pearson. Gardner, H. (1995). The Unschooled Mind: How Children Think and How Schools Should teach. New York: Basic Books. Perkins, R. (2008). First Australians. First Australians, 1-19. Robbinson, K. (2011). Out of Our Minds: Learning to be Creative. New York: Capstone. Tolkien, R. (2011). Helping the Invisible Children. Education Review, 24-25. Wiggins, J. (2009). Teaching For Musical Understanding. Oakland: CA. Wright, S. (2003). Children, Meaning-Making and the Arts. Sydney: Pearson Prentice Hall.