As I wrote, I also gained new insights into what the masks represented. The irony is that while masks freeze realities, they allowed me to witness changes in myself, draw connections and see patterns. While Bateson suggests confronting contradictions through creative engagement, Coles and Knowles suggest that human beings learn through stories and refer to a comment by Smith: Researching the self through creative means requires the inquirer to respect and trust the intuitive process.
This process emerges within its own time frame, which can be difficult for those of us used to establishing time lines or having our lives governed by time lines created by others.
Externally imposed time frames serve to hinder and silence the creative process. Instead, the researcher must patiently wait and actively attend to natural moments of experience when a creative spark spontaneously ignites.
What do masks teach us? What encourages authenticity? While masks hide they also reveal, but what is revealed is frozen in time, which allows us to examine it more attentively. Mask-making as exploring tensions: performing the data Now I become myself. The Raging Grannies are older women activists who take their responsibility as citizens seriously and dress up flamboyantly to be seen and attract attention to their concerns. They express their views on current social, political and ecological issues by writing and performing satirical songs and creating clever actions.
While they have created a unique form of protest, they also challenge stereotypes associated with aging for women. In order to represent the richness of the conversations I had with 36 Raging Grannies, and to honour their creative approach, I challenged myself to creatively represent findings. Like fire, their approach demonstrates a transfor- mative power.
An orange abalone eye represents anger at destruction; a blue abalone eye reflects compassion underlying the rage at unnecessary suffering. Paradoxically, these masks give a human face to data. Alex, team member The previous two examples of mask-making led to its adoption as a means to deepen reflection and to represent data within the context of a large research project into interdisciplinary collaboration.
Themes of interdisciplinarity such as a fine balance, diversity, the tyranny of time, the importance of communication and fun were represented through creative masks. The HCIC research team comprised senior and junior researchers from 11 universities in Canada, the US, the Netherlands and the UK, including graduate students as well as community organizations representatives and policy partners.
They represented the fields of adult education, disabilities studies, economics, family studies, gerontology, health and social policy, history, literature, nursing, occupational therapy, philosophy, public health science, social anthropology, social work and sociology. This study looked at the process of interdisciplinary collaboration within this large, complex, multi-disciplinary, and multi-national research and was one of many studies under- taken by this team.
Collaboration is intrinsic to interdisciplinary teamwork and being able to identify what makes it work helps us understand the elements necessary to successful collaboration. What are the elements that facilitate or hinder collaboration within HCIC? What are the outcomes of collaboration within HCIC? Metaphors from arts, nature and sports were identified: jazz ensembles; sculpting; weaving tapestry; making crazy quilts; quotations from literature; a tree; a seed that flowers; pace setter in a running group; rowing team; sailing; and a family.
Second, 11 team members pseudonyms used representing various disciplines, institutions and roles in the team participated in individual in-depth semi-structured interviews.
During the data analysis phase, three of us collaborated on the creation of a series of masks to visually represent elements of the collaborative process based on the transcripts, which gave us an opportunity to reflect on the transcripts together as well as to reflect on how we worked together.
Roy Figure 4. Partial view, Unmasking collaboration: Reflecting a fine balance. Human Ecology Building, University of Alberta.
Source: Photographer: Kara-Leigh Jameson At the entrance of the exhibit we had this statement: Figure Source Reflecting a fine balance. Bonded by a common goal, a team of 75 academics, policy, and community partners from across Canada, the US, and Europe, have been interrogating the issue of costs and contributions, shaping the process of working collaboratively as they go. Masks are symbolic of the relational nature of human beings. This exhibit is a visual representation designed to unmask the process of collaborative research and illustrate the tensions inherent in working with people from different backgrounds, perspectives, working styles, and areas of expertise.
Like the creation of the masks themselves, collaborative research has been a journey, not a destination, a voyage of discovery, creation, and reflection of the collective self. May these masks speak to those who know how to listen with their eyes.
With an elephant mask, we shared this story at the beginning to the exhibit to indicate the importance of collaboration: There is an old Indian folk story where four blind men were each presented with a different part of an elephant — body, trunk, ear, leg or tail — and were told this was an elephant, and asked to describe the elephant. Their descriptions were completely different — a wall body , snake trunk , fan ear , tree trunk foot , and rope tail. While they were all correct, they were each only partially so.
The truth lies in their collective description. Godfrey Saxe, ; Blind men and the elephant A. Retrieved October 19, , from www. The idea of balance was a metaphor frequently used by team members, which speaks to balancing individual and collective, various disciplines and research methodologies, and a supportive and challenging atmosphere; it also meant balancing the goals and priorities of agendas of academic, policy and community partners, as well as balancing process and deliverables: You know, there is that fine balance.
I seek out people who definitely have different ways of looking at things … I think HCIC is diverse enough that it allows me to expand my thinking, expand my options, but also a group that I feel I have some comfort level with, that we have enough common or similar issues or challenges that we can problem- solve together. I think those are exciting opportunities. Sometimes those people with the similarities are not the ones that you thought were similar to you, so I think there is enough variety that there is a balance.
Creating such a mask was a challenge as none of us had made large masks so there was a creative tension between the excitement of this collaboration as well as some anxiety: Where were we going? Would we be able to produce something that was reflective of the material we collected in interviews? Would our individually as well as collectively made masks mean anything to others or would the effort at creativity and collective risk-taking be dismissed?
Would we be able to work together with that creative tension? The colour division in the mask and the features represent different emotions. Is it useful? What am I bringing to the group? Roy Figure 5. From Unmasking collaboration: Reflecting a fine balance.
Source: Photographer: Jacquie Eales. Our commitment to the project, the willingness of each member to engage their creativity and take risks, and open communication allowed us to negotiate this tension productively. Source: Figure 6. Photographer: UnmaskingKara-Leigh Jameson collaboration: A multidisciplinary approach results in greater accuracy and understanding of a Figure 7. Photographer: Source: Masks representing Jacquie Eales diversity, Unmasking collaboration: Reflecting a fine balance.
Genuine dialogue is not based on specific activities, but rests on an open, inquiring, caring attitude, a mix of curiosity, open mindedness and a spirit of adventure and discovery Kockelmans, Reflective Practice Figure 6. Allowing space for different, at times contrary, views is important. It requires a commitment of team members to be open, honest, respectful and courageous at times. The challenge of fitting in is made greater by diverse disciplines that employ different languages, concepts and define problems worthy of attention in distinct ways.
It is important to acknowledge the diversity among team members and value the perspectives offered, especially those that differ. A number of participants pointed out that collaborative interdisciplinary research excels when daring is valued, and that it is important to create an environment in which team members are safe to make mistakes.
Roy Figure 7. Masks representing diversity, Unmasking collaboration: Reflecting a fine balance. I saw a couple of opportunities. I guess that was the way I integrated myself. We all have people in our lives who are chronically self-centered, who only think about themselves and don't mind using people to get whatever they want regardless of whether other people get hurt. People who seem not to have an ounce of empathy towards other people, people who shame, guilt trip, abuse, manipulate and do many other things to others in the name of love, care, friendship or familial relation.
It can be draining, physically, emotionally and mentally, to have such people as friends, relatives, spouses or partners.
Do you have one in your life? Are you tired of trying to please someone in your life only to end up being blamed for the things you did or did not do? Are you tired of living your life to please someone whose only 1 priority seems like to bring you down, to control you, to shame you, belittle you and do all manner of other mean things that leave you in pain? If you answered YES, now is time to start your journey to breaking free from the chains of the narcissistic person.
And lucky for you, this book will take you by the hand to help you identify the tricks that the narcissist has been using on you to keep you under their control and to show you how to end it all. It is not your fault that you've been in a relationship with a narcissist for all those years.
What matters is that you put an end to it, one day. Today is the day! Luckily, this book takes a nonjudgmental, easy to follow approach to help you realize just that. We tend to use the word narcissist to describe a person who's self-centered and short on empathy. But it's important to remember that narcissistic personality disorder NPD is a legitimate mental health condition that requires diagnosis by a mental health professional. Bryant Ed.
Author : Carmen M. Most people do not realize they are in a narcissistic relationship only to find out that everything they thought about their relationship is really a lie. The hardest thing is to look over your life whether it was a long-term relationship or a short-lived relationship and to find out that the person you thought cared did not have the capacity to do so because of a personality disorder.
A personality disorder well hidden under charm and charisma yet destructive to themselves and anyone involved. This book allows you to take a look at seeds planted throughout life and the thought process that has led so many people into this type of abusive relationship. This book is an honest look at real experiences, the emotional damage and the reality of the lack of awareness within our society of how these individuals operate and leave a trail of destruction everywhere they go.
Learn how with this fully revised and updated third edition of a self-help classic—now with more than one million copies sold! Do you feel manipulated, controlled, or lied to? Are you the focus of intense, violent, and irrational rages? Stop Walking on Eggshells has already helped more than a million people with friends and family members suffering from BPD understand this difficult disorder, set boundaries, and help their loved ones stop relying on dangerous BPD behaviors.
This fully revised third edition has been updated with the very latest BPD research on comorbidity, extensive new information about narcissistic personality disorder NPD , the effectiveness of schema therapy, and coping and communication skills you can use to stabilize your relationship with the BPD or NPD sufferer in your life. This book is unique given its scholarly angle in unmasking irresponsible leadership IL by focusing on its meaning.
For the first time the concept of irresponsible leadership IL is explored in depth, the plethora of terms used in various disciplines is synthesised, and the ped-andragogy of teaching IL as a threshold concept of responsible leadership RL is discussed.
The methodological approach adopted is creative and sound. Following the call for business schools to do more in developing responsible leadership curriculum, the book is the first of its kind devoted to advocating a radical change in the management curriculum.
It draws attention to the essence of developing a shared in-depth understanding of IL by addressing the misconceptions of theories and issues that have contributed to the epidemic corporate scandals worldwide.
The book provides many benefits, some of which include: Pertinent answers to important questions about responsible leadership and curriculum development; sophistication of qualitative research in management studies; in-depth understanding of irresponsible leadership from a cross-disciplinary perspective; support for leadership employability endeavours and equipping students with in-depth understanding of RL; assisting with developing reflective and reflexive practice; and in terms of ped-andragogy, encouraging innovation and creativity in teaching IL as a threshold concept of RL to reduce unnecessary management curricula bias.
This book shares a collection of novel ways to re-conceptualize and envision the moral imperatives of consumption, thereby providing invigorating insights for future dialogue and intellectual and social action. It privileges a consumer moral leadership imperative, which augments the conventional management imperatives of sustainability, ethics, simplicity and environmental integrity. Exposing the Pain. The car chase that nearly killed them both was the end of the marriage, but just the beginning of the story… Catch a glimpse of narcissistic religious abuse through the eyes of a survivor of a thirty-year abusive marriage to a minister.
Travel the road of darkness on the quest for light. Experience the victory that only comes through healing. Michele Armstrong describes in detail her journey from victim to victor, bringing to light the objective that freedom from the evil grip of abuse is available to everyone through the healing power of Jesus.
Anyone can be a victim; and unfortunately, many times abusers are well-respected leaders in society and even in the church. Hiding behind the mask of charisma and charm in the public eye, abusers are monsters behind closed doors. Through informed awareness, the church can foster a safe and healing environment, and dispel the religious stigma associated with victimization and the aftermath. Exposure dismantles the stronghold, and with awareness comes responsibility of change and a redemptive solution for all individuals, marriages, families, and churches across every corner of the world.
US citizens perceive their society to be one of the most diverse and religiously tolerant in the world today. Healthy Conflict in Contemporary American Society develops an approach to democratic discourse and coalition-building across deep moral and religious divisions. Her principal role as Tess is to play an unknown woman who happens to look like the celebrity Julia Roberts. In the film Tess even presents herself on one occasion as the real-world actress Julia Roberts in order to gain the privileges of celebrity.
In the same film Julia Roberts also plays the real Julia Roberts, whose presence undermines the credibility of the impersonator. In one and the same film, then, Julia Roberts plays herself and someone playing herself. She is both masked and unmasked. Such a juxtaposition, like a Shakespearean play-within-a-play, calls attention to the difference between an actor and a character and to the context in which such a difference can occur.
When we think about such things, the very nature of the person as the agent and as the dative of such contexts rises to the fore. This need not be surprising, for it was the difference in context afforded by the theater that first enabled human beings to come to terms with the person.
Attention to the role of context, especially in art, will allow us to re-animate the classical understanding of the human being as a person, a wearer of masks, bearing a face, who navigates contexts to act and speak truthfully, duplicitously, or simply playfully. Our goal is to turn the person inside out: to avoid the perils of Cartesian and Lockean introspection by showing how the person is on display in an encounter.
Our inquiry first discusses film and stage as the context in which personhood originally emerges. The actor masks his own identity and thoughts so as to reveal a character.
What is masked is nothing other than the person. Secondly, we remove the mask to revisit the Greek emphasis on the face and the Latin emphasis on speech. We establish their interplay in putting the person on display. The eyes in particular are revelatory of the person and serve as a kind of locus for speech and self-disclosure.
The final section highlights the role of context for personal unveiling. Offstage, the person conceals himself in an improper context and reveals himself in a proper one. Concealing protects persons from being regarded impersonally, and it invites a personal regard. The specific contributions of this study, then, are the following: recovering the context in which the person becomes manifest, integrating and amplifying the classical emphasis on face and speech as essential dimensions of the person, and identifying the personal significance of context.
An actor wears a mask, dons a costume, assumes a persona, and thereby reveals a character. A peculiar cancellation occurs in the unusual event in which an actress plays herself. When Julia Roberts appears in a film we expect her to appear as someone else, but when she appears as herself we cancel that expectation.
What occurs in acting has an analogue in painting. As a viewer, we can shift attention from bearer, to image, to object depicted, but normally and naturally the bearer recedes for the sake of the image of the object. Similarly, on screen or on stage we do not see the actress but the character she plays. The actress recedes for the sake of her character, though it is possible for us to pay attention to what has receded. When we see a musician play an instrument, our focus undoubtedly shifts to the song and away from the musician, but the musician himself does not wholly withdraw from view.
Not so with an actress who must wholly become the character. The actress is the medium herself. Nietzsche suggests that all art is a lie, and that the concealing of the actor for the sake of the character is a deception, albeit one that is not intended to deceive.
The difference between acting and lying is one of context. It is not a lie in the context of a film or stage, but only when it occurs off-stage in the context of everyday life. For example, consider the difference between someone showing up at your door playing an IRS agent and someone appearing on television or on stage as an IRS agent.
Even if you are also an actor on the stage, the actor playing the agent is not being duplicitous. He may play a character 3 Hans Jonas argues that the ability to make and intend images is distinctively human. A cave drawing, then, is definitive evidence for the presence of the human being. Similarly, we are arguing that making an image of oneself as actor or agent is distinctive of the person.
Press, , pp. But one is not really deceived! To see or be in a film or play is to enter a new context, and this shift in context alters the way appearances are to be taken. Such a context is not established simply by appearing on screen or stage. An actress could appear on a DVD extra discussing her role, or she could appear on a televised awards program, or she could come out on stage after her performance to receive applause not for the character but for her performance.
In such cases we see the actress, we see Julia Roberts, not the character she plays. She meets and falls in love with a no-name bookstore owner played by the famous actor Hugh Grant. Simultaneously, the viewer is asked to regard Roberts as a famous actress, though not her real self, and to regard Grant as an utterly unknown person.
In such juxtaposition, suppression, and piecemeal borrowing, the passive viewer or spectator is still exercising rationality and keeping the contexts straight. Such activity is not only required by film but by other endeavors as well. Sports games likewise function in terms of players in a context, marked off by the lines on the fields. The boundaries establish a new context in which players can play, in which the rules of the game hold.
Without such a context a baseball player cannot play ball. Athletes do not conceal their identities and true thoughts in order to be ball players, but they do need to set aside their usual concerns and enter into the context of the game with its rules and purposes.
They become pitchers, batters, and outfielders, something that can occur only within the game. Actors often take stage names and do adopt a persona. But such things belong to real life, not to the world of film. During a professional baseball game I attended, the home plate umpire died of a heart attack.
Because it happened on the field, many fans responded as if the event were simply a bad play or a bad call. Boos and jeers followed when the game was suspended and then canceled. These fans failed to distinguish between the context of sport and the context of real life. The players themselves, however, better understood.
We would trust the medical advice he gives his patients in the context of the television program, but not in the context of our own lives.
When it comes to our health, no impersonator will do; we want a real doctor. What firmly plants us in the primary context of real life, then, is our own mortal flesh. It is here that we suffer needs, desires, and joys, and here that we can die.
Here, too, we can reveal ourselves to each other. No virtual world can claim this final horizon, this primary context of being. In the context of real life, it is the person who, endowed with a face, acts and speaks truthfully or not.
In view of the above considerations, can we re-animate this ancient theme? What the mask masks is the face, which indicates the unique status of the human being amidst his animal counterparts: only he is endowed with a face, the revealer of meaning.
Personare means to sound or speak through. Naturally, it came to denote the dramatic character, then the forms of address first, second, and third person , then a legal status, and finally the human substance. While Greek emphasizes the face as the meaningful display of the person, Latin emphasizes speech and communication. Both conspire to highlight the special dignity of the human being, but they do so in such a way that they point to two complementary features of that dignity.
There are similarities in structure and function between the fronts of the higher animals and humans, but the human alone can mask herself, her emotions, her thoughts, and appear other than she is. The animal is transparent. If it is excited, fearful, or upset, we can easily tell. Joachim Rittler, s. Steward and E. There is an important element of freedom in the face.
A consequence of the freedom to conceal is the freedom to reveal in the proper context. Face has a dual significance. When we face something, we freely turn our attention to it. What we propose is that persons turn their attention to the matter and acknowledge it. We tell others to look at us when we are speaking because the eyes embody attention the most. When we make eye contact, our attentions join and we face the world together.
We do not adopt the gaze of the anatomist, but the personal look of attention. The person is that which faces the world in the twofold sense of being responsive to the truth and of being there for others.
0コメント