The Social Context of Death and Dying

The Social Context of Death and Dying Introduction Using course materials from Death and Dying, I will discuss the idea that death is something to be feared. I will use course material from Block 1, The Social Context of Death and Dying, focusing on units 1 and 2. I will provide evidence of arguments for and against this notion and consider other attitudes of how these views are formed by society. I will also illustrate my answers using materials form the course website, reader and audio activities. I have also incorporated some personal and professional experience. in an attempt to illustrate my points. Death is portrayed and discussed in various ways by people from all walks of life, their upbringing and religious views can have an impact on how they perceive death. As discussed in Block 1, one indicator that death is something to fear is our use of language. This anxiety is demonstrated in the euphemisms individuals use when describing or explaining a death. For example when undertaking activity 1.1, Explaining the meaning of death, (Block 1, unit 1, pg 1). I discussed my first experience of death. I recall having to explain to my youngest sibling that our mother had died. My sister was 8 years old and I sat her down and spoke firstly about angels and the stars. I went on to tell her that God had decided he needed mum to be an angel. I couldnt bear to use the word dead as I was struggling with mum being dead and was of the view that using the word ‘dead would have been too painful and therefore spoke about angels to make it less emotive. Since then I have experienced the dea th of other relatives and friends and find that I will use euphemisms such as, â€Å"passed away† or â€Å"gone to a better place†. I have also heard myself use phrases such as â€Å"kicked the bucket, however, this is usually when referring to someone I didnt really know. A number of examples are provided in block 1 in relation to euphemisms used to describe what occurs after death. Spiritualist and Mediums use words such as â€Å"crossing over† or â€Å"passed over† as they see the death as the beginning of a journey from this world to what they describe as the ‘spirit world. Komaromy (2005) spoke of how she found that whilst exploring how death and dying were managed in care homes, was â€Å"frequently met with difficulty over the use of words ‘death, ‘dying and ‘dead† (Block 1, unit 1, section 1.2, pg 13). It would appear the fear of using these words were not necessarily from the residents themselves but by those who cared for them. The beliefs instilled in people from a young age from their family, educational professionals and religious sources as well as their personal experience of death can often have a profound impact on how they perceive death and dying. Roman Catholics appear comfortable when speaking about death as they see death as a momentous event that should not be feared. Catholics believe in life after death, stating the soul leaves the body and will normally spend a period in Purgatory and when the soul is cleansed of the temporal consequences of sin they will enter heaven. However some anxiety remains, as for many, there is uncertainty of how long their soul will remain in purgatory. â€Å"They do not fear the next world, but rather the passage, the crossing over..† (Toscani, et al(2003), OU course material, website). Professor Douglas Davis research highlighted that gender plays a significant role in the belief in life after death in contemporary British Society. He states that women are far more likely to believe in an afterlife, than men, with a ratio of almost 2:1. He informs 30% of the population with a similar gender imbalance believe the dead remain among us and have had contact in one form or another with their loved one. (Audio1, activity 1.8, Identity and Belief). This I would argue is based on a persons knowledge of the deceased and is linked to their sense of identity and the need to continue the link with their loved one, which in turn may offer comfort and peace of mind to those who are bereaved. People also seek comfort through contact with the dead via spiritualists and mediums, in an effort to communicate with loved ones. Justine Picardie describes this as attending a social gathering of the dead (Picardie in Making Sense of Death and Dying and Bereavement: An Anthology, pg 198, E arle, et al). Research and studies regarding the beliefs and views of individuals in life after death vary from person to person depending on their religious or non-religious beliefs. For example the article â€Å"Life at the end of Life: beliefs about individual life after death and â€Å"good death† models a qualitive study† Toscani, F., et al, highlights two different models and arguments regarding death and what would be classed as a â€Å"good death†. The attitudes and assumptions depend on whether the individual is a believer or non-believer but even then there can be conflicting opinions between faiths. Tibetan Buddhism describes in great detail the process of death and the passage over. Tibetan Buddhists are encouraged to read â€Å"The Tibetan Book of the Dead† and when an individual is dying, there is a common conception that it is good to read this book to the dying person. â€Å"By understanding the death process and familiarisingour self with it, we can remove fear at the time of death and ensure a good rebirth† (Death and Dying in the Tibetan Buddhist Tradition, Hawter; V.P internet source: Buddahnet.com). In contrast, Seventh-day Adventist beliefs regarding death are totally different from those of other religions. Adventists believe that people do not die nor do they go to Heaven or Hell. It is their belief that the individual â€Å"goes to sleep and will rise again on the Day of Judgement†. (Kormaromy, 2005, Block1, unit 1, section 1.2, pg13). By this they mean the person will remain unconscious until the return of Christ. The views of atheists vary, although the consensus is that there is no life after death, that when we die, we die, and that is it. â€Å"If I am, death is not; if death is, I am no longer: why, then, fear death?† (Toscani,et al(2003), OU course website, pg 8). This does not mean that atheists do not have a fear of death, like believers there are similarities with regards to how they will die and where they would like to die. I worked with a family whose child was dying. When trying to support the family through this difficult period they spoke of feeling angry at individuals who had questioned why they were not in church praying. They informed me that as far as they were concerned that when their child died that was the end. They stated their only fear was that their child would die alone if they left his side. The management of death and dying has changed over time. French Historian, Phillipe Aries claimed that in the Middle Ages people appeared more optimistic with regards to death, as they acknowledged death as part of life, as it unavoidable. The death affected not only the family of the deceased but the community as a whole. With individuals being assigned particular roles, for example, preparing the body for burial, announcing the death and it was customary to view the body of the deceased. Death was a common occurrence and this may explain why death was seen as inevitable and therefore not feared. Aires argued that after the 19th century death in western society was hidden and following the First World War, death became a taboo subject and was no longer seen as a natural process of life. (Block 1, unit 2.2, pg 38). The explanation for this could be that it was due to what we know as the ‘nuclear family era? Norbert Elias (1985) would argue that in todays society the role of preparing the deceased has been taken over by funeral directors who offer a wide range of services to the family. This includes collecting and preparing the body for burial or cremation. In my own recent experience of the death of my son, the only duty the funeral director could not undertake was to register the death. Elias argument â€Å"is that dying people are now more isolated than in the past† (Block 1, Unit 2.2 pg40). It should be noted that some traditions continue, for example, the viewing of the deceased remains within many faiths be it within a church setting or funeral directors chapel of rest, although this is usually by family and close friends. This could explain why Aires theory that death after the 19th century did not have an overall impact on the community but rather than on a smaller network, family and friends. German Sociologist, Norbert Elias (1985), (Block 1, unit 2.2, pg 40) challenged Aires ideas, that in the past, death was accepted as being a natural process. Elias claimed death was painful as life was much shorter and more dangerous. Conclusion Perhaps the idea of life after death allows us to cope with what can only be seen as a natural fear as the alternative, non-existence is unimaginable and we are psychologically inept to deal with this. Therefore we need to ask the question is death something feared by all? Is this a hypothesis or could it be that for many individuals, especially, those in old age or with a terminal illness that death could be the beginning of something better. It can therefore be argued that whilst individuals and society have diverse opinions regarding death and what happens to them when they die, the majority do have a fear of how they will die. For example being alone, suffering pain, dying young or, being forgotten.

Reference to two South African examples Essay

In at least one point in the day, every-one finds themselves tuned into one broadcast station or another, be it radio or television Be it for entertainment, relaxation, to be informed or merely a means of escapism. For whichever reasons it is, radio and television play an active role in our everyday life whether we are aware of it or not. Using South African examples, this assignment seeks to discuss two radio and two television genres. It is virtually impossible to discuss the issue genre before defining this term. Both the Oxford dictionary as well as Creeber (2001), defines ‘genre’ as â€Å"type† or â€Å"kind†. Genres allow for the types or kinds of things to be categorised. For example in radio broadcasting, there are various different programs aired, such as talk shows, music shows, news broadcasts, drama shows and so on. Each of these shows are categorised into a particular genre based on their characteristics. The two radio genres that will be discussed are talk shows and music shows. The phenomenon of genre is not exclusive to radio and television alone. In fact according to Greeber, â€Å"it [genre] has played an important role in the study of literature, theatre, film, television and other art and media forms† (Creeber, G: 2001 pg. 1). Radio-Talk Genre Radio stations like ‘SAFM’ and ‘702’ are almost entirely dedicated to the genre of ‘talk show’ however almost every radio station incorporates this genre if not at least for a few minutes. The success of talk shows lie in participation by the audience. The audience is urged to call into the radio station and either view their opinion on the topic of discussion or pose questions to either an officiator or a panel. On ‘SAFM’ for example, there was a program entitled â€Å"The Life and Times of Dr. Bayers Nordea†. The show was as the title implies, discussing and talking about Dr. Nordeas’ life. The show hosted family, colleagues and friends, who spoke about his life. Listeners also got the opportunity to add their comments, thoughts, as well as pose questions to the panel. The show was also officiated by the host or disk jockey (D. J) of the show, who not only directed most of the discussion, but also made sure that the show, ran smoothly. The nature of talk shows is such that the audience phones in either agreeing or disagreeing to the topic or question being discussed. This opens the door for others to voice their opinions. According to Barnard (2000), â€Å"phone-in †¦encourages a free flow of opinion and conversation within the safety of an artificially created community† (Barnard, S: 2000). With out this element, the talk show would be deemed unsuccessful. Talk shows do not follow a particular protocol, meaning that any topic can be addressed. The mere action of a D. J. posing a question relating to any topic and receiving feedback from the audience constitutes the genre of talk show to be exercised. As any topic makes way for talk shows, it is common to find small inserts of talk show, even within a primarily music radio station. Highfeld Stereo is an example of a South African music radio station. It is common to find a situation where a D. J. poses a question and opens the lines to receive feedback. The D. J is thus officiating a talk show, within a music show. Listeners of talk shows however, are required to concentrate on the discussion if they are to understand what is being discussed, thus ones attention cannot divert from one thing to another. For example, one cannot talk to a friend on the phone, as well as remain focused on the discussion. Radio-Music Genre. Although there is audience participation in the music genre, it differs from that of the talk genre. Regarding music radio, the audience is urged to call in to send dedications to friends or loved ones, choose songs they wish to hear, or vote for their favourite song rather than voice their opinions on a matter. Music as a genre is not so clear-cut like talk shows. Within the music genres, there are sub-genres, where by music is categorised according to style. Rock, rave, hip-hop and pop would all be examples of sub-genres of the music genre. The music genre requires less attention from the listener to be focused on the show. Namely, the listener can do various other activities without loosing out on the entertainment. For example, while driving a car and focusing on the road, or while working at ones desk, one can continue to listen to his or her favourite song and not be side tracked. Unlike the talk genre where if one was driving a car and focusing on the road they would more than likely loose track of what was being discussed-alternatively, they would possibly have an accident. As the genre implies, the emphasis in music shows is in fact music. Therefore it is common to find very little talking by the D. J. and more music being played. The show usually consists of popular songs in the specific sub-genre being aired. This genre also usually has a top 40 show, where the 40 most popular songs are aired. This is commonly known as â€Å"contempory hit radio† (Tomaselli/de Villiers: 1998). 5FM radio station for example has the ‘Coca-Cola Top 40’ music show which is aired every Sunday morning from 10:00- 14:00. Other radio stations like ‘East Coast Radio host the ‘Top 10 at 10’ show, which airs the 10 most popular songs every Tuesday night at 22:00. These songs which make it onto the ‘top 10’ or ‘top 40’ lists, are songs which have been voted for by the public. Jacaranda FM in contrast to the mainstream radio stations of say 5FM for example would air music of a different sub-genre, however one would still find the most popular tracks of that specific sub-genre being aired, as well as ‘top 10’ shows occurring. In the music genre, the D. Js primary job is to play music and possible talk a little bit about the artist of the track, rather than being an officiator or a mediator of discussion, as is found in talk radio. Television-Documentary Genre. As the term documentary implies, these shows are usually fact based and require research to be done on the particular topic being showed. Events are documented by a team of researchers and aired to the public. An example of a documentary would be found in the SABC 2 show â€Å"50/50†. This is a documentary program that focuses on various aspects of the wild life. Documentaries however could focus on a variety of topics, including an event, person or idea. As the emphasis of documentaries is on information, enlightenment and facts, viewers usually watch documentaries as a means of being informed, rather than being entertained. The nature of documentaries is such that each episode is fully formed and has a definite conclusion – even if left as an enquiry for the viewer to think about what they have just viewed. This allows the viewer to evaluate their knowledge of the topic against that of the show. Documentaries are also not usually serial form, as would be the case in a sitcom for example. Rather, they tend to be self-contained episodes with definite endings. Documentaries usually also adopt a narrative structure & psychological relationship of the viewers to the program. The viewer is often addressed directly, in order â€Å"to persuade the actual person watching at home that he or she is the â€Å"you† to whom the addresser is speaking† (Allen,C: 1992 pg. 118). This also keeps the viewer interested in the show as well making them feel as if they actively involved in what is going on. Due to the fact that documentaries are not entertainment focused and are rather a means of transferring information, events, people or animals being documented are portrayed as realistically as possible. Animals, which are filmed in the â€Å"50/50† program, for example are filmed in their natural environments, rather than in zoos, in order to give the viewer the most realistic experience. As they are based on real occurrences, documentaries, unlike entertainment programmes such as sitcoms, do not focus as much on a specific plot. Television-Soap Opera As soap operas were originally targeted at the female audience (Brown, M: 1994), it is not surprising to find that many of the central characters within this genre are women. More importantly, they are strong, powerful and influential characters, rather than the stereotype housewife women. SABC 3 airs the soap opera â€Å"Isidingo†. Charel de Villiers and Leigh Haynes are two examples of strong, powerful and ambitious characters that play central roles in the show. It is important for these kinds of characters to exist, in order for the audience to which the show is targeted at to be able to relate. â€Å"They [women] recognise some of there own identity in this product created by the media† (Brown, M: 1994). People watch soap operas for a number of reasons. The fact that they are entertaining, allows the viewer to unwind, relax or escape from the stresses from every day life, for the duration of the show, as the audience get lost in the reality of the program (Anderson, M: 2004). Viewers could also be using the decision-making techniques and outcomes of the soap opera to â€Å"work through† their own issues (Anderson, M: 2004). â€Å"Isidingo† is an example of a program that deals with AIDS-an issue that the whole of South Africa is facing; it also provides solutions in the form of Nandipe-a married women infected with HIV. Her positive attitude allows her to live a productive life. Viewers may see Nandipe as a role model. Those viewers infected with HIV may in fact even echo her actions in order to try and increase productivity in their own lives. Characters in soap operas are usually found in the form of â€Å"multiple characters† (Brown, M: 1994) meaning that characters emphasize the group over the individual (Brown, M: 1994 pg 53), thus many people can relate to one specific character. This also makes way for viewers to find similarities between themselves and various other characters rather than one particular character. Brown believes that rather than relating to characters in soap operas, viewers â€Å"implicate† themselves to various characters, meaning that the viewer will see similarities between a particular character, or even characters, but when the character acts in a way that the viewer does not agree with, or feel comfortable with, the viewer will distance him or herself from the character (Brown, M: 1994). Soap operas adopt a visualization style, which gets the viewer to focus and identify with a specific character (Brown, M: 1994 pg. 53). On a radio talk show for example, a TV viewer called in with the opinion that the â€Å"Isidingo† villianess, Cherel de Villiers should be punished, as if the viewer could not differentiate between reality & fiction. (Anderson, M: 2004). Apparently actors who play villainous characters are shunned offset by the public (Anderson, M: 2004). It is not only the relatable characters and entertaining style of soap operas that keep the audience hooked. It is also the continuous open-ended nature of episodes, set in the present and containing a number of alternating story lines which gives the audience sense of continuous pleasure (Brown, M: 1994, pg. 58). The fact that soap operas resists narrative closure, meaning that the story is continuous and never ending, means there is always hope for the future (Anderson, M: 2004). Thus viewers will continue to watch future episodes in order to come closer to seeing what will happen at the end (which never really comes). â€Å"John Davies (1984)†¦ suggests about soap opera viewers that once ‘hooked’, they vacillate between their need to know, or the pleasure of anticipation† that keeps viewers watching (Brown, M: 1994). In discussing two radio and two television genres with reference to two South African examples, it is evident that the complexities and intricacies of various broadcasts and genres are not as simple as one would imagine. As seen above, various genres and broadcasts draw in different audiences, and evoke various different responses in the viewer or listener. As technology continues to move forward, where will these broadcasts find themselves in the future? For now though, radio and television will continue to play an active part in almost all of our lives. BIBLIOGRAPHY Allen, Robert C. 1992. Televisions modes of address & the social context of T. V. viewing. In Channels of Discourse, reassembled. 2nd ed. Edited by Robert C. Allen. London: Routledge. Anderson, Muff. Soapies mirror SA’s soul. Mail & Guardian. 24 March 2004. Barnard, S. 2000. Studying Radio. New York: Arnold Hodder. Brown, Mary Ellen. 1994. Ch. 3: Soap opera and women’s talk: The pleasure of resistance. Thousand Oaks: Sage. Creeber, G. (ed. ). 2001. Introduction: What is genre? In Creeber, G (ed),The television genre book. London: British Film Institute, 1-7. Teer-Tomaselli, R and de Villiers, C. 1998. Radio: Theatre of the Mind. In De Beer, A (ed). Mass media toward the Millennium. Pretoria: Van Schaik, 147-175.

Article Summary: Emerging Giants

Article Summary: Emerging Giants Many local companies lost their market shares or sold off their businesses when global or multinational companies from developed markets such as US, Germany, and Japan got into the emerging markets. However, some local companies held out against and exorcised multinationals.In this article, the authors instantiate this kind of local companies by explaining that Mahindra & Mahindra in India and Haier Group in China have barraged out their own rivals, reset their business strategies, taken advantages of new opportunities, and gained high competencies that enable themselves to do their businesses in global markets very successfully.Also, the authors describe the three strategies these companies employ to make themselves strong, global competitors in spite of facing several difficulties such as financial problems or bureaucratic disadvantages in their home countries, referring the results of their study of emerging giants. First of all, some emerging-mark et companies use their own knowledge of local product markets, resulting in good understandings of local customers’ needs and tastes.This strategy helps these local companies to capture distinctive national advantages. For example, Jollibee Foods in Philippine has profitably succeeded in their businesses against McDonald’s because they know local customers tend to prefer a particular soy and garlic taste that their products have. Secondly, some companies in emerging markets have exploited their knowledge of local talent and capital markets, thus giving services to their customers at home countries and overseas cost-effectively.For instance, Infosys or Wipro in India knew the possibility of providing services to customers abroad very cheaply compared to Western companies did because they had knowledge about where the talents resided and that they can hired technical workers at salaries lower than those in developed markets. Finally, some emerging giants have taken advan tages of institutional voids to create businesses.Old Mutual in South Africa, for example, noticed that South Africa did not have mutual fund and long-term investment product, enabling itself becoming a large financial firm. After I read this article, the company that I came in my mind is Geely Automobile (Geely) in China. Geely actually started their business as a manufacture of refrigerator. The CEO and founder at Geely, Li Shu Fu knew that to achieve the success in China, it was necessary to reduce the cost of anufacturing drastically, enabling local customers to buy their products in China, because when he started his business, in China disposal income among ordinary people was much lower than that in different countries. Therefore, he began to assemble many components from junk dealers because recycled or junk parts were basically cheaper than new components, thus resulting in cost reduction. Then, he stared to produce small motorbikes because at that time, in the end of 1994, it was not still common to buy automobiles in China.That is why at first he decided to focus on manufacturing motorbikes instead of automobiles. After that, finally, they made a beginning of car manufacturing in cost-effectively manner by hiring local workers who knew how to design their products and to manipulate industrial machines. Additionally, he has built networks with local universities and more surprisingly he actually founded several universities to produce competitive but cheap labors. I believe this company is a remarkable and interesting example of emerging giants.

Marketing Plan For An Exclusive Market Essay - 1317 Words

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