Client-Centered Therapy by Carl Rogers Free Essay Example, 1500 words

There are a number of important conditions that enable the therapeutic process to occur. One core condition for personality change is that the client is experiencing incongruency (Rogers 1989). This is a Rogerian term indicating that the person s ideal self and their actual self are in disproportion. The therapist then intervenes as a means of bringing the person into self-realization with their personal version of their self being integrated with the external and social version of the self. Through the successful realization of these personality elements, the patient then develops congruency. While the client-centered approach is phenomenological it also stresses that the therapist has already attained congruency. This may seem to indicate that there is an objective sense of self that the therapist teaches the patient, but it can also be understood more along Eastern philosophic lines, where it s not the objective realization of self that is conveyed but rather than the process by which the self is actualized and adjusted to its own individual phenomenological reality. For the therapist, the goal is to create the proper atmosphere for these transformations to occur. We will write a custom essay sample on Client-Centered Therapy by Carl Rogers or any topic specifically for you Only $17.96 $11.86/page The non-directive process abandons previously held conceptions regarding the therapist that instructs or 'directs' the client along a specific path. In these regards, the therapist acts more as a guide than a sage.

Essay Frank Kafkas Metamorphosis - 982 Words

Who is the Real Parasite? - #2 Living a relatively monotonous life, Gregor Samsa has his world change one morning when he discovers his transformation into an oversized insect. In Franz Kafka’s short story, â€Å"The Metamorphosis,† Gregor struggles with not only his physical devolution into a vulgar organism, but also the condemnation and revulsion from his family. Gregor’s metamorphosis ultimately illustrates a disturbing fact: once Gregor is no longer the provider for the family, he loses all significance to his family. This in turn raises the question of who the real parasite is in the family, which the reader soon sees is anyone but Gregor, despite his physical, superficial metamorphosis. The breadwinner of his family, Gregor has become†¦show more content†¦Worse, it seems as though Gregor has no escape from this torture. As someone who lives off of Gregor’s hard work, Mr.Samsa continues to hurt him as would parasites do to their hosts. He treats Gregor far worse than he did prior to his son’s transformation and lies about their money crisis only for Gregor to exert extra work in order for them to live nicely. Despite the fact that Gregor innocently alleviates stress for the Samsas and puts their financial state at ease in exchange for a meaningful existence, his parents stabs him in the back-quite literally- and abuses him to be their money bank, even so far as deploring his position as a son after his transformation, indicating their nature as more pestering sores than the bug itself. Although it first appears that the father is the cruelest to Gregor, it is actually Grete who disappoints him the most, since initially, she and Gregor seem to have shared a deep love. In the beginning, Grete is the most compassionate towards Gregor, before and after he turned into an insect. She would have the daily tasks of feeding him and cleaning his room â€Å"out of her own free will†(23). While taking on the duty of caring for her unfamiliar-looking brother, Grete did not complain nor did she hate Gregor for his appearance. At one point, she feeds Gregor human food, but, being as empathetic as she is, immediately takes notice that it repulses him and then gives him a buffet of rotten treats.Show MoreRelated The Metamorphosis- Critical Essay718 Words   |  3 Pages Frank Kafka is considered one of the most influential writers of all time. Helmut Richter would agree with this statement. Richter agreed that Kafka was a very prominent figure in world literature and was am azed by his mechanics and word usage. I feel that his essay is supportive of Kafka’s writing, but also leaves out many important details in its brevity. Richter did not include Kafka’s flaws and tendencies in his essay. Helmut Richter analyzed the plot of The Metamorphosis in his essay. He depictsRead MoreExploration of the Common Ground Occupied by the Metamorphosis and the Wasp Factory.996 Words   |  4 PagesMetamorphosis by Franz Kafka explores the troubles of a young man named Gregor. The Wasp Factory explores the troubles of a young man named Frank. In Metamorphosis, the protagonist in the story is Gregor Samsa. He is a travelling salesman who awakes one morning to discover he has turned into an insect. It seems that Gregors only use purpose in life is to work and support his family; this seems his own concern when he finds himself as an insect. The next train went at seven oclock; to catchRead MoreThe Metamorphosis By Frank Kafka849 Words   |  4 PagesThe Metamorphosis is a short novella written by Frank Kafka during the 20th century Modernism period. The Modern period introduced technological advances like the steam engine; the telephone and telegraph connected humans from different regions and help improve the human experience. Although the increase of these technological devices led to an improvement of the human condition it also led to the production of dangerous weapons and modern warfare. Global conflicts ravaged modern life due to increasingRead MoreExistentialism By Frank Kafk Isolation And Desperation1207 Words   |  5 PagesExistentialism can be defined in a multitude of forms. Frank Kafka was a prominent, influential German-language writer of novels and short stories; one of which includes The Metamorphosis. His distinguishing philosophy of existentialism consists of two main concepts: isolation and desperation. The notion of alienation is a fundamental theme that is condensed throughout the short story. Gregor Samsa, main character and protagonist of The Metamorphosis, goes through a complete physical transfiguration thatRead MoreAnalysis Of Franz Kafka s The Metamorphosis1500 Words   |  6 PagesIn Franz Kafka’s The Metamorphosis, the opening sentence introduces the main character, event and the setting. Gregor Samsa is one of the only two characters who are addressed by name, this reflects his importance in the story because he is the protagonist and he plays a central role in the lives of his family and friends. Besides introducing the central character, this opening line has a dramatic impact on readers. It draws the reader straight to Gregor Samsa’s transformation and Kafka’s absurd realityRead MoreThe Most Influential Writers Of The Twentieth Century1806 Words   |  8 PagesThrough out Frank Kafka’s life he wrote many German novels and short stories. Kafka has been known to be one of the most influential writers of the twentieth century. From Kafka’s writing he shows that what we go through influences in our life influences what we write and how we write and that sometimes the things we go through are so hard that we need to write in allegory. He was born on July 3, 1883 in Bohemia. He was born into a middle class German speaking Jewish family and was the eldest ofRead MoreMetamorphosis Psychoanalysis1630 Words   |  7 PagesPsychoanalytical Criticism of The Metamorphosis The deeper meaning of â€Å"The Metamorphosis†, by Frank Kafka, can be interpreted in many ways depending on critical theory is used to examine it. From a feminist criticism, one can observe how Gregor’s dominance as a male diminishes after he becomes a bug as his sister’s strength and role in the family grows stronger. From a biographical criticism, one can compare and contrast the traits of Gregor and the people around him with that of Kafka’s own life and his relationshipsRead MoreMetamorphosis by Frank Kafka875 Words   |  4 PagesFrank Kafka’s short story Metamorphosis involves an element of horror derived from the unchallenged acceptance provided by everyone, including Gregor himself to his transformation into a vermin- cockroach. Kafka, renowned for his surrealism, tries to create a universe where a seemingly unrealistic reality containing chaos, corruption and immorality, is in fact reality, and an actually consistent perception of the tr uly horrid nature of human existence under the influence of society. Set against theRead MoreExistentialism: American Beauty1763 Words   |  8 Pagesagent, but she was also going through her own midlife crisis in both her career and personal life. Lester’s daughter, Jane Bumham had alienated her parents and was going through puberty. They have a new neighbor who is a U.S. Marine Corps Colonel Frank Fitts, and he has a son, Ricky Fitts, who is a drug dealer. Lester was going to get fired from his company that he had worked for fourteen year. Lester managed to cut a deal by threatening the manager to give him a year’s worth of salary or else heRead MoreThe Concept of Self-Transcendence2287 Words   |  10 Pagesthe different â€Å"cataracts† of life, and ultimately view the world through an altruistic perspective. When one conquers the notion of seeing â€Å"nothing of itself†, one can comprehend the true meaning to living a full and healthy life. In Fra nz Kafka’s The Metamorphosis, the main character Gregor Samsa has lost himself in his continuous world of routine, in which his grueling profession takes away from his ability to recognize the components that make life meaningful. Thus, his job is the â€Å"cataract† that

Comparing the Works of Luhrmann and Zeffirelli Free Essays

These two films, both interpreting the same play, but portrayed very differently. When comparing the two we have to take into consideration that the time these films were made. Zeffirreli’s version was made in 1968, and supposedly set in the 16th century. We will write a custom essay sample on Comparing the Works of Luhrmann and Zeffirelli or any similar topic only for you Order Now This version is based mostly on the script and is set in the time Shakespeare would have pictured as he wrote the play. The more recent one, directed by Baz Luhrmann is set in the world of today. In this version Luhrmann relies more on the visual impact on the viewer and the special effects. He is able to achieve this because of the huge budget that films have nowadays. In my opinion he was able to make a film, based on the works of Shakespeare and make it appeal to a wider audience than Zeffirelli. The older version seems more theatrical, meaning that it focuses on only a few main themes. For example, the scene where a Capulet trips up an old Montague man. It uses very basic visual effects for this, but by doing this it is made into a very melodramatic scene. It also keeps in most of the script and is based around it. The first fundamental difference we see is in the opening sequence. I think that the way the openings differ is unique in their own right. The Zeffirelli version in basically filmed in medium camera shots, and rather plain in effects (evidence of the time the film was made in). This means you get to see most things going on. What I found when watching the Zeffirelli version, was that when the slow-moving, calm camera pans over Verona then throws you into a medieval, bustling market is a huge contrast. Because of this change, you get to feel like a bystander, buying your weekly groceries. In both versions, when the camera zooms in on the characters during the opening scenes, you can feel the emotion and the tension, because the viewer is so close. In the Luhrmann version, because the imagination, ideas and amount of money has moved on in time since the Zeffirelli one was made, the camera angles change a lot from wide range, to close up shots. Luhrmann also filmed in wide screen (which has evidently been brought in, in the last 25 years of film-making), which gives the film a modern outlook. The iconography of the helicopter also shows the movement of the times. There is a lot of iconography used in both films, apart from the helicopter. In the Zeffirelli version there is the symbolism of the bell, the church and the Prince and his men riding into the scene on white horses. All these key features a very religious symbols. This is also common in the Luhrmann version because the camera focuses a lot on the huge statue of Christ in Verona. This is evidence that both directors had the same ideas about the importance of religion and different beliefs etc. For example, in Zefirelli’s version, the Prince arrives on the scene on a white horse, stopping the fight, keeping the piece. The pure white horse could symbolise the peace, which is relevant to the Prince’s purpose. It also focuses on the TV newsreader a couple of times. This is another difference in the opening sequences I realised, how the sonnet is said in each film. In the Zeffirelli one, a man says it when the camera focuses on a beautiful orange sky, and on the fiery red sun, with peaceful music in the background. When it focuses on the sun, the title of the play comes up, as does Zeffirelli’s name. Whereas, Luhrmann has again incorporated Shakespeare in a modern day object, a fuzzy television. When the female newsreader narrates the sonnet, the television gradually moves closer and closer, until it takes up the whole screen. When she has finished the television fizzes out, then the music starts up. The camera then flashes back and forth from newspaper headlines about the conflict between the two families, the police helicopters, the names, the statue of Christ etc. the flashes of scenes match the music, and it gradually gets faster and faster. As this is seen, the words of the sonn et come up on the screen (in which every ‘T’ is a medieval cross) and then it introduces the characters. It uses the same font throughout the opening scene, which is very effective considering it is in very bold, white letters. When I realised this, it meant that they used the same font for both families suggesting that they are both the same, both wanting the same things. It also focuses a lot on the two names. This occurs when the camera zooms in on the crests of both families’ guns, the number plates on each car and the names in huge neon lights on the two highest buildings in ‘Verona’. What struck me the most when comparing the two films is how the music affects the opening scene. The music in the Luhrmann version is a huge, thunderous orchestral soundtrack. This is a perfect background to many huge, quick, sweeping camera shots, as it draws our attention to the vastness of the city. I would say it was a ‘gothic’ soundtrack, because the music has a great texture and it emphasizes the ‘colours’ of the city. We see a lot of greys, blues and blacks of the city. I also thought that the music enforces intense emotion, which sets the viewer up for the rest of the film. I found that it set a sense of suspense. I realised the importance of the camera shots/angles are and how both directors matched the music opening with the movement of the camera shots. Zeffirelli’s version has a serene, calm, lame imitation of Elizabethan music, suitable to the time this film is set in. The music is quite quiet, wind music, quite the opposite to the Luhrmann version. This could be because the director wants the viewer to appreciate the surrounding and the environment the film is set in. Unlike the Luhrmann version, it focuses more on the actors and their speeches than the city. Language and meaning is very similar throughout both versions. This is apparent thought the way the characters act their speeches. For example the Montague boys in the car singing parts of the text to a wild rock song – showing the light hearted attitude of the people in the first few scenes – only until we see the first sign of conflict (the thumb biting in the petrol station). In this scene we witness the rude hate signal of ‘biting thumbs’. In the Zeffirelli version this scene is based exactly like the play itself, in a market place, and keeps in the sexual innuendos. Whereas in the Luhrmann version, this scene is in a modern petrol station, without all the petty language. In the Zeffirelli version, after a short number of sexual innuendos and antagonistic talk, the Capulet servants are the provokers, and with the hate signal of the biting of the thumbs, and the deliberate trip of a Montague. On the other hand, Luhrmanns interpretation of the scene is placed in the world of today set in a modern petrol station. When both cars get to the petrol station, the camera focuses on the sign, ‘Add more fuel to your fire’, then after the rebellious looking Montagues provoke Abra into a quarrel, Tybalt starts the fire, and the camera then draws our attention to the sign again when it is alight with flames. This could represent the recklessness of the two gangs, and how all they have set out for is to kill. This could also represent the fact that they have no bounds or restrictions, and that their ruthlessness forces them to attack the other, no matter how much damage they cause. Most of these icons used in both films are very religious and symbolic. This can suggest the theory that maybe there can only be peace upon the death of another. Both directors had the same ideas about the dress codes of the groups, as we can see in the pictures above. They uniformed the characters into their families. In the Zeffirelli version it is the greens vs. red and yellows and in the Luhrmann version it is the sleek, blacks vs. the colourful and very scruffy. These two pictures show the differences of how both directors portray the different characters. Here we have Tybalt Capulet, cousin of Juliet. In both versions Tybalt has quite a laid back demeanour, sure of himself and knows he is the main man. When we compare these two characters, we have to take in to consideration that Zeffirelli’s was mad nearly thirty years before the modern one, so think of the difference in budget, the difference in fashion, etc. both are in smart, expensive, very different clothes and the both stand out in the crowd. They both walk and talk in the same sly, powerful, confident manner. Out of all the Capulet boys, Tybalt would definitely be the first to catch your eye. If you compared the Montague boys to the Capulet boys, in both films, the Montague’s are a lot scruffier, relaxed in their clothing, they look and act quite weedy, in a way. Both openings have their own positive strengths and weakness, in different ways. The traditional opening is more accurate as it portrays how the author would have seen the story unfolding in 1595, and the language used is accurate for that period. The downside of this is that it is likely to only appeal to scholars of Shakespeare and purists. The modern version however, appeals to a wider audience. Although not based accurately upon the script and entered into a modern context, which the author could not have imagined at the time and in no way intended, it is likely to appeal to a far greater audience who perhaps were not readers of Shakespeare and wouldn’t have understood the older version. Helped by stars such as Leonardo Di Caprio the film opens up a whole new appeal to what was considered an old fashioned and to some, uninteresting story. How to cite Comparing the Works of Luhrmann and Zeffirelli, Papers