These topics are my ambiguity tolerance, my learning style using Kolb’s assessment, my dominant conflict management style, and my dominant reaction to dissonance. Ambiguity Tolerance Ambiguity essentially just means uncertainty or unknown. In general, most people could say that their life is considered to be ambiguous to a degree as nobody knows exactly what will occur in their lives or in the future. This first assessment looked at our level of tolerance or intolerance for ambiguity, with higher scores
Defining ambiguity tolerance is complex. Chappelle and Roberts (1986) define ambiguity tolerance as “a person’s ability to function rationally and calmly in a situation in which interpretation of all stimuli is not clear” (p.30). Tolerant people are better able to tolerate the feelings of anxiety and uncertainty. They will perceive and interpret ambiguous situations more adequately, in a realistic way, without denying or distorting parts of its complexity. Tolerant people are likely to elaborate
about my tolerance for ambiguity, risk taking, locus of control, my big five personality, and my MBTI self-assessment. I also want to explain some new things that I have learned about myself and also who I want to become. Figuring out who you want to become can really change a person’s life and turn your life around for the better. First of all, tolerance for ambiguity means how easily a person can cope with a situation when a great deal is unknown. I have a greater intolerance for ambiguity. I scored
various concepts to enhance or dictate the progression of their work. Ambiguity is one such tool that has the power to influence a story. In "Bartleby, the Scrivener" and "A Very Old Man with Enormous Wings," Melville and Marquez utilize ambiguity to develop their story's theme. Both authors focus ambiguity around the main characters in the stories to criticize the rigid rules of systems in society. Melville's use of ambiguity in "Bartleby" is extreme and prevalent throughout the story. He
The classic ghost story, the Turn of the Screw, is filled with loose-ends and ambiguity. Are the ghosts real or imagined? Is the Governess a heroine or anti-heroine? Are the children really as innocent as they seem? In the novel, Henry James rarely provides an in-depth character that the reader actually gets to know. From the young romantic governess, to the intelligent ten year old, James keeps his characters morally ambiguous in order to further the “Unsolved mystery” style. The main character
The Ambiguity in “The Rappaccini’s Daughter” The literary critics agree that there is considerable ambiguity in Nathaniel Hawthorne’s “Rappaccini’s Daughter.” This essay intends to illustrate this statement and to analyze the cause of this ambiguity. Henry James in Hawthorne mentions how Hawthorne’s allegorical meanings should be expressed clearly: I frankly confess that I have, as a general thing, but little enjoyment of it, and that it has never seemed to me to be, as it were
Ambiguity in The Turn of the Screw and The Innocents How successfully does the black-and-white film version of The Turn of the Screw, The Innocents (Jack Clayton, 1961), render the ambiguity of James' original text? Ambiguity, the art of deliberately creating something that can have more than one meaning, lends itself to the written word without difficulty. A written story can involve ambiguity in the characters, plot, narrative - every factor in the story can have to it a sense
Ambiguity in Coover's Quenby and Ola, Swede and Carl Ambiguity occurs often in writing, and readers often choose to fill in the blanks with facts, which are not from the text. By filling in spaces in the story, the reader creates a plot, which fits into their understanding. In Coover's "Quenby and Ola, Swede and Carl," the plot is ambiguous. Many of these ambiguities are subtle and are easily overlooked, leading the reader to make assumptions about the text. Simple words, phrases,
building relationships. I believe that providing this particular account would have allowed the reader to better understand the context of the Western Apache community under consideration, and could have augmented the role of silence and the meaning of ambiguity in social interactions.
analysis he offered in 1967 is as authoritative now as it was then. Comprised of nin e chapters broken into a total of 221 theses, Society of the Spectacle tends toward the succinct in its proclamations, favoring polemically poetic ambiguities over the vacuous detail of purely analytical discourse. There is, however, no shortage of justif ication for its radical claims. Hegel finds his place, Marx finds acclaim and criticism, Lenin and Rosa Luxemburg add their contributions
Use of Irony, Ambiguity and Symbolism, in Gulliver's Travels Although it appears simple and straightforward on the surface, a mere travelogue intended solely for the amusement of children, Gulliver's Travels, by Jonathan Swift, proves, upon closer examination, to be a critical and insightful work satirizing the political and social systems of eighteenth-century England. Through frequent and successful employment of irony, ambiguity and symbolism, Swift makes comments addressing
of a master criminal?" Perhaps the question has other meanings, but this is a natural one, and one to which SA and SR are meant to apply. Interpreting the question this way removes some unclarity from the phrase "be moral." But it removes no ambiguities that might stem from the word "should." SA and SR purport to do this. SA, briefly put, is this: "Why should I be moral?" is either a request for a moral reason to be moral or a request for another type of reason (or perhaps a motive) to be moral
accounted for. Thus, no historian has been able to filter through the many layers they need to in order to arrive at an accurate account of history. What “personal narratives” and “life histories” provide are numerous examples of the complexities and ambiguities that accompany any reconstruction of African history. Each account of history does not offer a different perspective from which one may view a particular event or time, simply because no two accounts have the same concept of location or time. Western
selling of false relics was highly taboo so the fictional character may be satirical representation of a Pardoner Chaucer the author knew. The Pardoner is initially introduced as a merry man associated with the church. The author then suggests the ambiguity of his sexuality making the reader think more about the character of the Pardoner. The author Chaucer shows the Pardoner preaches against greed which is ironic considering the Pardoner's hypocritical actions. Chaucer the author shows how the Pardoner
Ambiguities Explored in Heart of Darkness Literature is never interpreted in exactly the same way by two different readers. A prime example of a work of literature that is very ambiguous is Joseph Conrad's, "Heart of Darkness". The Ambiguities that exist in this book are Marlow's relationship to colonialism, Marlow's changing feelings toward Kurtz, and Marlow's lie to the Intended at the end of the story. One interpretation of Marlow's relationship to colonialism is that he does
Hamlet is the melancholy Dane; Claudius, the smiling villain. Polonius is the oily courtier; Horatio, the loyal friend. Most of the characters in Hamlet are well defined and unambiguous; the character of Gertrude, however, presents us with many ambiguities and difficulties. Some critics see her as "well-meaning but shallow and feminine, in the pejorative sense of the word: incapable of any sustained rational process, superficial and flighty" (Heilbrun 10), while others see her as a stronger character
Pillars of Metaphorical Ambiguity in The Scarlet Letter Among the multiplicity of arcane elements hidden beneath the words in Hawthorne's "The Scarlet Letter", none is so apparent, yet strikingly subtle to the reader's perception and consumption of characterization than the allegorical play on words within the names of the characters. Both the protagonist and her rival within the plot are blessed with conveniently appropriate, fitting names. The four pillars supporting this novel are all cloaked
first "hils" in Spencer refers to the Roman civilization and the physical buildings, whereas the latter "hils" refers to the mountains on which Rome was built. Thus, being "raz'd" are all of the monuments of Rome that are subject to mutability. Ambiguity in the second quatrain allows for two readings following the Roman theme. First, the "hungry ocean" is the sea itself which gains on Rome, "the kingdom of the shore," but if the ocean is rising against Rome, it is incongruous to say that the "firm
idea of self-ownership (or any sort of ownership of subjects), that it is more likely to perpetuate problems than to solve them to think in this way, and that the belief in the possibility of body/self-ownership is rooted primarily in linguistic ambiguities (“property” vs. “properties”, different senses of “mine”, etc.). Mine We will begin with the seemingly innocuous assertion, “my body is mine”. 1[1]This is a truism only if “mine” is not construed as “being that which I own”. I do not own
writing style, he often detaches the common meanings we associate with familiar words in order to re-use such words to describe everyday phenomena in unusual ways. James is aware of the ambiguity in his style, and capitalizes on this in order to depict the rather precarious society of his time, as well as the moral ambiguity of his characters, particularly in The Wings of the Dove. James focuses on the materialistic, manipulative, and selfish aspects of the characters in his stories. The concepts of love