Exploration Notes- as Level Drama and Theatre Studies Essay Example for Free

Exploration Notes- as Level Drama and Theatre Studies Essay 1) Discuss and compare the exploration of characterisation in Metamorphosis by Steven Berkoff and (A Doll’s House). Draw your own practical understanding of the skills used including use of language and voice to portray character. In our practical sessions of Modelling Gregor in â€Å"Metamorphosis†, we thought about how we would physically see Gregor. To do this, we had to individually create the shape of Gregor with our bodies. We all started off thinking about it really literally- â€Å"How would a beetle look?† rather than thinking about how our body represented Gregor and his feelings towards society. We then expanded on our thoughts about Gregor and then tried to empathise with him and think about how we would look if we were in his situation. My finished individual beetle was crouched/curled up on the floor on my side with my head down, hidden away- this represented Gregor’s vulnerability (a beetle on his back is helpless and cannot move, but a beetle has a hard shell which protects him; I was half and half because with my head down, I didn’t want to be seen by society and I was ashamed of what I had become however with my front/underside slightly showing, I was exposed to society and helpless but because you could see my back/shell, I was half protected by family- I think that throughout the show this would change and I would end up completely on my back because the family does end up abandoning/killing Gregor) , one of my arms was in a jerky/awkward position and the other was outstretched away from my body- the jerky arm represented Gregor changing and being abnormal and different, the outstretched arm however showed that I was reaching for someone to help and save me from what I was turning into; my legs were limp, lifeless and in an awkward shape to show that I was, again, turning into something new and weird but could not move and physically get away from it. After we made our individual beetle, we then worked in partners and modelled them into Gregor. I decided to use props for this (I used a chair). Hana (my model Gregor) ended up being positioned on her side, with her head under the chair and one of her arms reaching out onto it, her legs were crooked and awkward to show that she couldn’t move from her pain. After that, we raced our â€Å"beetles†Ã¢â‚¬ ¦ Hana lost.. but this showed that Gregor was in a good position because he found it difficult to manoeuvre himself and get away from what was happening to him- his movement was limited and awkward when he did so. Hana then modelled me, she had me stood up with my legs wide open (showing vulnerability) and one of my legs turned in and that knee bent (which looked awkward, abnormal and hard to move), my head was dropped and my stomach was contracted in. She placed my arms out to the sides in awkward positions, which was quite physically demanding as I was holding the position. We then used these positions for a scene of Metamorphosis. The dream scene; we incorporated our ideas of how Gregor felt and moved into this scene. We decided to have a narrator and an actor onstage being Gregor. I tried to capture the essence of Gregor’s franticness yet vulnerability in the way I directed Hana as Gregor. I did this by changing the speed and dynamics of how she was moving; this matched the way I was narrating as I also changed the tempo, dynamics and pitch of my voice to really capture how Gregor’s character felt. To create the family we thought about the physical features of a beetle and applied them to the metaphors of the family. We ended up putting Mr Samsa in the middle, seeing as he is the heart of the family; we then had Gregor again in the middle with his arms over Mr Samsa almost saying that he is protecting him and the family with his income but he is still exposed to society and therefore vulnerable. We had Mrs Samsa knelt in front of Gregor and Mr Samsa looking straight forward with a blank expression almost as if she hasn’t got much to say about the situation and is just disregarding Gregor. Greta was at the very front of the beetle as the antenna, looking out for Gregor and being his sense of feeling. The legs of Gregor were made up of society, but reaching out and away from the beetle and from Gregor. We also (as a practical exercise) held hands as a whole group and twisted ourselves into a character from the play each†¦ this ended up looking abnormal, as the family’s situation is and a lot of it also looked quite painful but we were as one as a unit, as the family is. In order to characterise Nora in a Doll’s House, we used the techniques of Stanislavski because A Doll’s House is a much more naturalistic play compared to Metamorphosis. We started with a focus exercise in which we lay down on the floor and concentrated only on our breathing and our body contact with the floor. We then got thought about some key words to describe Nora’s character and tried to focus on each of them individually, letting each emotion overwhelm our bodies. We then were counted down to stand up and walk around the room as Nora, showing her feelings through non- verbal communication. We also created some tableaux of the family in a dolls house. For this we used visual, aural and spatial techniques. 2) Discuss and compare the Visual, Aural and Spatial elements and the use of non-verbal communication techniques to present issues and ideas in both plays studied. Make reference to your practical work. Visual, aural and spatial elements either have an iconic or symbolic reference. Iconic is always visual, for example a prop; it is iconic because it is what it is and only serves its primary function (e.g. a stool is a stool and is used for sitting on etc.) However a symbolic reference is something that represents something and has a metaphor behind it (e.g. a chair could be symbolic for a particular person). Metamorphosis is an extremely abstract play and the visual, aural and spatial techniques used are very important. The play is commonly set with Gregor at the back on a platform above everyone else, slowly becoming more and more deformed. This is a very visual thing and represents the time’s changing and matters are slowly getting worse and worse for the family. The fact he is higher up than everyone else as well could also symbolise the fact he is hanging over everyone’s head and is a burden on the family. His height could also represent his status and the fact he is the cause for everything happening on stage and when he changes, everything else does as well. Another common way of positioning Gregor is to have scaffolding angling up to the back of the stage like this: This gives perspective; it also makes Gregor look further away but because of the angle, you are drawn in, giving a stronger emotional impact on you as an audience member. The scaffolding itself makes the whole aesthetic of the performance seem more skeletal; which Gregor is also slowly becoming. It is also, obviously, very structured which contradicts how the family’s situation is in the play. In the script it says that every prop is mimed other than 3 black stools places equidistantly of each other for the family to use. I think these proxemics show how the family are as a unit and detached from Gregor. In order to explore and interpret this, we created a series of 10 tableaux. In these 10 tableaux, we used visual, aural and spatial elements to show the subtext of the plot- we mainly focussed on the family and how Gregor’s change affected the family. We used a ladder laid down on its side for scaffolding in which Gregor spent a lot of the time in various awkward ways, becoming more and more deformed and trapped as the tableaux progressed. We thought we should only use the organic sounds from our movement and the ladder for our performance to represent the tension and how awkward the situation/plot/subtext was. In the changeover of each tableau, we decided to move a chair gradually towards the back of the stage to represent Gregor slowly distancing from his family. One element of these tableaux I was quite proud of was the proxemics of each member of the family compared to Gregor and the ladder/scaffolding. This is said ladder; as you can see, there is a divide across it. We used this as a barrier stopping the family from getting to Gregor; apart from in one tableau where we â€Å"broke† this barrier and Greta reached out to Gregor through the partition. Gregor was slowly becoming more and more deformed into the corner during the tableaux. Greta reaching over through the barrier to Gregor. Mrs Samsa reaching over to Greta trying to stop her from â€Å"breaking the barrier†. Mr Samsa: Back turned to Mrs Samsa and Greta (and obviously Gregor, wanting no part of it) Gregor was slowly becoming more and more deformed into this corner during the tableaux. We also used visual, aural and spatial techniques when studying A Doll’s House. Unlike Metamorphosis being abstract, A Doll’s House is much more realistic than Metamorphosis and therefore uses lots of props which are all in one way or another, symbolic of something and metaphorical. As a class we discussed the characters and props and what they may metaphorically represent: * Christmas Tree- The family’s relationships falling apart simultaneously with the pine needles falling off the tree. It could also show that looks can be deceiving because of the fact that while this tree is looking beautiful, the family is deteriorating. * Door- Freedom when Nora leaves. Trouble when she enters from the unknown outside world. * Dr Rank- Society hiding their decay. * Money- Power and all things bad and poisonous. * Nanny- The calm, security and support of Nora and the children. * â€Å"Skylark†- Nora is just a pretty singing bird with no other purpose than looking beautiful. Also the fact that a skylark cannot speak words, this is reflected in Nora; she is not allowed an opinion or it is not heard. * Stove- The characters always go back to it (especially Nora), this could stand for support and forgiveness, the warmth of friendship and loyalty because it is always there. * Macaroons- Nora’s deceit. * Lamp- The light of truth. * The Doll’s House- Nora is a kept woman, everyone’s play thing†¦or so they assume. It is actually Nora who plays with and manipulates the characters around her. Again, looks can be deceiving. Another way we explored visual, aural and special elements in A Doll’s House was when we studied the Tarantella scene. A tarantella is a traditional Italian folk dance. It gets its name from the venomous spider, the tarantula and it is supposed that when one gets bitten by this spider, the victims needed to engage in a frenzied dance in order to prevent death or disease, using very rhythmical music. Now, in context with A Doll’s House, I believe that the reason a Tarantella is danced by Nora is because she is trying to rid herself of the poison from Torvald, Krogstad and maybe even Dr Rank; or she could be trying to rid herself from lies she’s told as this is her poison. We re-enacted the tarantella scene with the proper script. We played with spatial awareness of characters, use of voice and visual effects. Nora’s movement gets gradually more and more frantic and her speech also more frantic and louder and high pitched. Torvald moves with purpose but in a much more organised and authoritative way compared to Nora; he is always keeping his eyes on her and making sure she does it ALL correctly. Mrs Linde comes in from side stage quite discretely, says her line to Nora then moves slowly and almost mysteriously to a chair in the LDF corner. Dr Rank, playing the piano, cannot keep his eyes off Nora but is fairly wary of Torvald’s presence so near him. Nora used a shawl while she was dancing which added to the visual effects and at the end of the dance she threw the shawl on the floor as if her freedom of dance had gone and the poison had come back. We then performed our own interpretive dance for the subtext of the tarantella and the whole play without any script work. We started with Torvald controlling Nora, almost as a puppeteer- for this we used music box doll music. The music then ran into Kashmir by Bond which starts with quite a distorted wave of sound which we used to show Nora slowly changing and fighting back with Torvald. Throughout the dance, Nora got stronger and less poisoned- instead, the poison was transferring into the other characters. After Nora had kicked Torvald to the floor, Mrs Linde came in and started controlling him alongside Torvald; after having liaised with Nora, she became poisoned and slowly deteriorated to the floor. Dr Rank then came into the picture, stepped over Torvald to get to Nora. They danced together until she pushed him away and transferred the poison. Finally, Nora ended up sat down on the floor, looking around almost like a child who had just broken all of her toys. Aurally, there is one very poignant moment in A Doll’s House where the door is slammed at the end by Nora. This gives the play a final point of closure where Nora has gone and has gone for good. Similarly in Metamorphosis, when the apple is thrown into Gregor’s back, this is a definitive sound of the end of the main plot. 3) Evaluate your understanding of the practitioners studied and their influences on Metamorphosis. Use your interpretation notes to aid this question making reference to the practitioners, playwright, and your own practical exploration. Leslie Steven Berkovitch, better known as Steven Berkoff, was born on the 3rd August 1937 to Russian Jews. He came from a poor family and because of their descent; he never fitted in as a child and found it hard to be a part of a group of friends. Growing up in the East End of London is a gritty, tough time for most people let alone someone of the likes of Berkoff. He was a badly behaved child and got kicked out of school a lot. You could argue he was the original â€Å"East Ender† until he then moved to New York- he lived in a 1 bedroom flat, shared with 3 other families (who were also outsiders in New York). Wherever he travelled, he could never fit in and never found anywhere to call home. He grew up to resent his family and moved back to London at age 13. As an outsider, a Russian Jew living in London, he wanted to be a gangster. He was in a stage of identity crisis where didn’t know where to belong and after being so badly influenced and behaved, he ended up in a young offenders prison which obviously made him extremely angry! After this, he changed his name to Berkoff because he didn’t want to be seen as a Jew or associated with his roots. He brought a whole new movement to British playwriting in British society. These plays he wrote commented on equality and people- they were often based in the home. When he came out of prison, he decided to go over to Europe and learn the skill of tailoring like his father had done. During his stay, he was given the book â€Å"Metamorphosis† by Franz Kafka. When he read this, he could instantly make connections between himself and Gregor. After this, he went back to the East End and started writing plays. Unlike his fellow playwrights John Osbourne and Edward Bond, he believed drama should still be abstract. Berkoff was influenced by Greek theatre; he was a â€Å"Megalomaniac of theatre styles† who loved over exaggeration and the use of masks to rid people of their identity. He loved the use of chorus (voices together) and poetic verse because it takes things out of context. I was inspired by Brecht and his political (borderline social) take on drama and the use of gestus and satire. He also like Artaud and his theatre of cruelty and the way he used the senses and sounds to put over metaphorical messages. He then travelled to France and worked under Lecoq who was a mime artiste and physical theatre worker and trained with him until he decided to move back to London. When he got back to London, he built up his manifesto of theatre. TOTAL THEATRE. Total theatre Greek theatre (chorus, unison, exaggeration), theatre of cruelty (loud sounds, harsh, gritty images and metaphors) and epic theatre (Brecht- teaches a message, gestus, stereotypes, alienation). Berkoff moulded all these ideas together and created his characters as comic and caricatures. Using the whole of the body was very important to him as he was an extremely physical director, well demonstrated with the character of Gregor in Metamorphosis. As a practitioner, Berkoff also wrote plays as well as acted and directed. He liked using lots of language and words (almost Shakespearian). He was extremely articulate and using beautiful language he talked about the gritty East End and reality of life. To put Berkoff’s views into practice, we had to pretend to be in love with a chair. We exaggerated our love and feelings and the chair was like a metaphor for our lover. We then had to flip our mood and become angry with the chair; it got us all to think how people would stereotypically act with someone you loved and then hated. We also had to pretend we were at a picnic on our own, slowly becoming more and more exaggerated with our eating and drinking, and gradually more grotesque. It really got us to focus into it and get into it, so when it was time to â€Å"fake wretch†, I actually felt physically sick! We also practiced slow motion. This was very physically demanding, like how Steven Berkoff would have directed. It was very important to control your movements but not forget that when you sped up the movements, they should look exactly the same as the slow ones. 4) Evaluate your understanding of the practitioner studied and his influence on A Doll’s House. Use your interpretation notes to aid this question making reference to the practitioners, playwright, and your own practical exploration. Henrik Ibsen was born in Norway in 1828 and died in 1906. He was from a well to do Merchant family, however his father’s fortunes took a significant turn for the worse and he ended up a moody, nasty man and turned to alcoholism which he then took out on his family. Ibsen subsequently, only wrote about money and marriage as this was influenced from his own life. His plays were seen as scandalous to many of his era because they were always touching on sensitive subjects like human rights. This then influenced many other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, Arthur Miller and James Joyce. He is one of the founders of modernism in theatre. During his time, despite failing to achieve success as a playwright, he gained a lot of practical experience at the Norwegian theatre company. His play â€Å"A Doll’s House† is a realistic drama that highlights the cultural conflicts of the 19th century. The play was very controversial when it was first published as it was sharply critical of 19th century marriage norms. Her ended up having to change the ending of the original script because the leading actress didn’t like the idea of having to act out abandoning her children. It also manifests Ibsen’s concerns for women’s rights and human rights in general. This was widely considered as a landmark in the development of what would soon become a highly prevalent genre of theatre- REALISM. Realism was consequently realised. It wasn’t however until the likes of Stanislavski came along that realism became so well known and loved. He wanted a sense of realism in his work and he wanted his actors to really connect with their character. In his eyes, the actors WERE the characters. He believed REAL ACTORS=REAL ACTING. We used Stanislavski’s techniques to get into our roles when studying A Doll’s House. We began with a focus exercise, lying on the floor and zoning out our thoughts. We then thought about our character and let their feelings overwhelm our own like Stanislavski would have got his actors to. We then connected with their emotions, felt how they felt and immediately after, acted out a short scene between Nora and Torvald. This helped us all enormously because got us to lose out inhibitions and focus entirely on the story, situation and emotions of the characters. 5) Discuss the Social, Historical, Cultural and Political content of the texts studied and compare the impact on an audience and on yourself as a student of drama. In Metamorphosis, the social, historical and cultural background is made apparent in a number of ways throughout the play. Franz Kafka (the author of the original novel) took his inspiration for the characters from his own relationship between himself and his father. Unforgettable images of dislocation seem to represent both the madness of the modern world and his own desperate neurosis. Similarly, Berkoff wasn’t very close with his father. Practitioners like Brecht and Artaud influenced his work- this is clearly visible in Metamorphosis as he took Artaud’s Theatre of Cruelty and gave it Brecht’s Epic Theatre attributes. Berkoff’s own unique style created this play incorporating his personal passion of mime and the genre of expressionism. Acknowledging what I know about both Berkoff and Kafka, it is blatent that the Social, Cultural, Historic and Political aspects in terms of the two writers were their personal experiences of suppression from society, the culture they were brought up in (Kafka brought up in the a Jewish community and Berkoff brought up in the lower class and status he was born into by Russian Jews). Metamorphosis can be seen as a reaction against society and its demands. Gregors physical separation could represent his alienation and understandable desire. He was crushed by authority and routine and had been imprisoned by social and economic demands: Just dont stay in bed being useless . . .† It prevents the forthcoming rebellion of the son against the father. Gregor had become strong as a result of his fathers failure. He destroyed his fathers self-esteem and took over the fathers posts and duties within the family. After the catastrophe, the same sequence takes place in reverse: son becomes weak, and father kills him. Gregor is shown as a symbol of anxiety and alienation who is a lonely character, isolated in his own mind from the community and true friendship (much like Kafka and Berkoff). Looking at where Gregor’s values were anchored: servant to the needs of an oppressive boss in order to meet the needs of a family that continuously exploits him. The metamorphosis was inevitable. Metamorphosis shows the views and attitudes of society. It isn’t necessarily the one we live in today, but looking at it from a historical point of view it could have been representing the society in the nineteen hundreds (1915) when metamorphosis was first published. Kafka was born in Germany and could be referring to the time of the war, and how the Jewish communities were discriminated against. In A Doll’s House, patriarchal ideals were supported and reinforced by a social structure in which women had very little political or economic power. They were economically, socially, and psychologically dependent upon men and especially dependent upon the institutions of marriage and motherhood. Motherhood within marriage was considered a woman’s highest possible achievement. It was a social responsibility, a duty to society, and therefore, a full-time job. Mothering was no longer something that came naturally, but was something that had to be learned. High infant mortality rates, particularly in urban areas, were solely blamed on mothers. Working class mothers were labeled neglectful, when in truth they struggled with both child care and feeding a family. The plot concerns the collapse of a middle class marriage. It sparked debates about women’s rights and divorce. It was considered innovative and daring because of its focus on psychological tension instead of external action. It also created a new acting style that required emotion be conveyed through small, controlled gestures, shifts in action, and pauses and it was groundbreaking in that it caused drama to be viewed as social commentary and not just entertainment. For me, I think that these factors in both plays have different effects on me because in A Doll’s House, the living situation is so much more common these days compared to the monstrosity it was back when it was written. I feel like I can however relate to Nora and how she’s feeling because she is quite feministic like myself. I become quite confused when thinking about how Metamorphosis affects me because it’s obviously a very abstract play but I can empathise with Gregor and moreover Greta because she just wants to help her brother but the higher members of the family won’t let her.

Prions : The Infectious Protein Agent :: Biology Mad Cow Creutzfeldt Jakob Disease

missing graphs What causes Mad Cow Disease? Prions. Prions are also behind other neurodegenerative diseases such as the Creutzfeldt-Jakob disease, Kuru, Gerstmann-Straussler-Scheinker disease and some forms of fatal insomnia. These are all prions diseases that have been found to exist in humans. The prion disease for cattle is what we know as the Mad Cow Disease. Prions also exist in other animals such as sheep, mink, mule deer, elk, cats, and some others. So what's so special about prions? Unlike other neurodegenerative diseases that are caused by the misfolding of proteins, altered proteins, abnormal gene splicing, improper expression, or ineffective clearing of proteins which slowly leads to disease by accumulation, prions cause disease by acting as an infectious agent. One abnormal prion protein is enough to turn all the normal prion proteins present into itself. How do prions do that? Scientists are still unsure of how exactly one protein is capable of turning another protein into itself. Many experiments are conducted to help shed light on its mysterious capabilities. In this website, we hope to explain one of these experiments that involved the effect of pH on the structure of prion proteins. Wait...Prions? Prion Protein? Which is which? Prions is the name assigned to infectious protein agents. Prion protein (PrPC) is the normal cellular protein that can become an infectious agent. The Official Mad Cow Disease Home Page The prion is a newly discovered pathogen that is vastly different from the known pathogens of today; namely viruses and bacteria. Unlike the bacteria, no antibiotics can cure prions. They are not typical of a prokaryotic organism or a eukaryotic organism, all that is present in this pathogen is the protein PrPSc. This is the mutated form of the protein PrPC, which is encoded by a chromosomal gene. These two proteins differ in their spatial protein structures and their susceptibility to enzyme digestion. PrPC is completely destroyed in enzyme digestion, whereas PrPSc is resistant to any form of digestion.Viruses usually have nucleic acid, protein, and other constituents that aid in the creation of more progeny viruses. As far as prions are concerned, they multiply by infecting the PrPC protein and turning it into a complex such as itself, the PrPSc protein. Prions exist in multiple molecular forms whereas viruses exist in a single form with disti nct ultrastructural morphology.Another difference between the virus and the prion is that viruses almost always provoke an immune response in the host that it is infecting.

Assignment Classical Conditioning Paper

My Tutorials are ONLY for your aid —Â   to help you! All tutorials have been turned in once by me and is my original work. I have excellent grades! You must do your own work with paraphrasing and summarizing. Thank you! Classical Conditioning Student’s Name PSY 390 Date __, 20__ Kay Rubin Classical Conditioning Classical conditioning is an intrinsic style of learning, which occurs by generating a response made by unconditioned stimuli’s, and was produced in 1903 by Ivan Pavlov (Olson & Hergenhahn, 2009).The theory behind classical conditioning is often known as one the most acceptable and oldest forms to model when learning about various human behaviors. This paper will focus on theoretical conditions and apply classical conditioning through a various examples as a means to give a better understanding. First off, it is important to understand that a scientist by the name of Pavlov discovered classical conditioning and was by sheer happenstance when examining the digestive system of canines (Olson & Hergenhahn, 2009).Another man, by the name of Watson, expanded the understanding of classical conditioning, which is in direct association to the way we learn. Nonetheless, both Watson and Pavlov pioneered classical conditioning as being the main source for remedial affects with creating sound behaviors and phobias. Teachers, parents, businesses, etc. will often use classical conditioning to influence behavior in daily circumstances. For instance, a wife can influence her husband by putting the toilet seat down more consistently by knowing how to utilize classical conditioning with her spouse.One of the first principles’s discovered was a stimulus, which causes instinctive responses (Olson & Hergenhahn, 2009. ) For instances, the smell of a cooking food, can cause one to be hungry. One of the stimuli’s, which can cause an instinctive reaction, is referred to as the unconditioned stimulus (US): the food. The unconscious response to the US is referred to as the unconditioned response (UR): the hunger. The neutral stimulus is the second principle, which is not the cause of the UR, rather it is a noise related to it: such as a dinner bell (Olson & Hergenhahn, 2009. The dinner bell is presented just before the US is stimulated, which is referred to as the conditioned stimulus (CS). The third theory takes place after the US and CS are coupled many times with that of the CS and is usually moments sooner than the US (Olson & Hergenhahn, 2009. ) In short, the CS (dinner bell) unaccompanied will originate the hunger. The hunger response, which is similar to the response of the US (food) will cause the proper response need for the CS (dinner bell). In retrospect, the conditioned reaction (CR) has now been assimilated.The US is the reinforcer because the whole conditioning process pivots on whatever reinforcements are being utilized (Olson & Hergenhahn, 2009. ) Although in classical conditioning, the animal or person wil l not always have control over reinforcements, since it happens when the person who is using classical conditioning wishes for it to transpire (Olson & Hergenhahn, 2009. ) Conversely, reinforcements are not dependent on any palpable responses: therefore, the behaviors are discovered in their unique ways.Rather classical conditioning that takes place in an animal or person will learn quickly which ecological influences are supportive to its existence (Olson & Hergenhahn, 2009. ) When viewing the success of classical conditioning, it typically obtains several pairings, which encompass a US and a CS, and are measured as an association to learning. One of the key elements to associative learning is in classical conditioning, and requires a natural instinct to strengthen (Olson & Hergenhahn, 2009. Conditioned Fears John B. Watson, in 1921, was an extremist in environmental determinist, who furthered Pavlov’s philosophies within the human race. Watson strongly felt that every perso n born had a small amount of essential emotions and reflexes (Olson & Hergenhahn, 2009. ) Additionally, his belief was that feeling and emotions were from experiences and genetics. He established that classical conditioning could originate phobias or fears when particular reflexes become coupled with several stimuli’s.Watson disputed with three fundamental emotions (rage, fear, and love) were hereditary, and that these three crucial emotions convert into distinct belongings amongst each person (Olson & Hergenhahn, 2009. ) To demonstrate this, Watson experiment on a youngster named Albert. Albert was conditioned using a steel bar, a hammer, and a white rat (Olson & Hergenhahn, 2009. ) At the beginning of the experimentation, Albert was familiarized with a white rat.He had shown no indication of anxiousness or fear when touching it or interacting with it. Following the initial interaction, Albert would reach for the white rat and then right following, a person would pound the h ammer alongside a steel bar triggering Albert to violently jump back; scaring him. Over a period, Albert became accustomed to a phobia of white rats. By no means did Watson ever fully accept Pavlov’s theories of classical conditioning since he did not feel that it solely relied on reinforcement in its entirety.Rather, he thought classical conditioning emerges due to the fact that the US and CS are harmonizing repetitively and in close proximity of each other (Olson & Hergenhahn, 2009. ) The frequency of being coupled together would become more durable with its association. Therefore, classical conditioning can also be utilized when removing fears. Classical Scenario Given that classical conditioning has been influenced and utilized by parents, teachers, businesses, etc. , many ordinary individuals will use classical conditioning to manipulate others into doing what they want for them.For instance, a recently married couple is sharing the only bathroom they have together. The wife is sick and tired of putting down the toilet seat every time she wants to use the bathroom. At this point, she chooses to utilize classical conditioning to influence her spouse to lowering the lid. The wife strikes up a deal: if she cooks his favorite food, he will agree by keeping the lid down. In return, the husband is obligated to make super if he leaves the lid up. The husband begins to realize this is not a fair deal and is becoming quite weary of making the dinners.On into the second week, the husband then becomes habitual about putting the lid down and thus avoids the nagging wife: leaving the wife making his favorite meal for a period of time. The US is the harassing, the UR is experiencing annoyance and making dinner for himself, and the CS is the lid to the toilet. The husband is the CR needing to put down the the lid to the toilet instinctively. When CS and US are coupled together several times, in addition to the UR of annoyance of making his own dinners, the CR is instituted when the husband becomes habitual with her initial requests. Classical Conditioning Time Chart | |CR+UR+CR |US+CS | | | |Leaving Lid Up |Putting Lid Down | | | |( |( | | | |Husband is badgered and is |Wife agrees to cook one of his | | | |obligated to cook meals. |favorite dinners and withdraws | | | | |badgering. |Week One |Monday |( | | | |Tuesday | |( | | |Wednesday |( | | | |Thursday | |( | | |Friday |( | | | |Saturday | |( | | |Sunday |( | | |Week Two |Monday |( | | | |Tuesday |( | | | |Wednesday |( | | | |Thursday | |( | | Friday | |( | | |Saturday | |( | | |Sunday | |( | This chart displays the affects when the wife found the lid up and if she badgered her husband, she would make him fix his own meals. On the other hand, if the wife had stopped reinforcing her husband’s actions by making him fix his own meals or withdraw the badgering, the husband would fail to remember this associated pattern about putting the toilet lid down. Conclusion In summary, classic al conditioning was founded by Ivan Pavlov and expounded upon by Jon B.Watson. Coincidently, Pavlov stumbled upon classical conditioning by chance, whereas Watson utilized classical conditioning to shape associative learning. Both Watson and Pavlov pioneered classical conditioning as an accomplished aid for creating different behaviors and curing phobias. Parents, teachers, businesses, etc. will often utilize classical conditioning when manipulating certain behaviors. As displayed in the chart, a wife can influence and manipulate her spouse into classical conditioning.References Olson, M. H. & Hergenhahn, B. R. (2009). An introduction to theories of learning (8th ed. ). Upper Saddle River, NJ: Pearson/Prentice Hall.

Alzheimer s Disease A Horrific Change - 1460 Words

Alzheimer s disease which chronically leads to Senile Dementia, is a horrific change in homeostasis for human beings. The most obvious change in homeostasis from Alzheimer s is loss of memory. Memory loss can vary from short term to long term. Alzheimer s disease has been occurring in humans for a long time. This is a disease that affects different body systems, and interrupts homeostasis to a significant point. As Alzheimer s disease is further investigated, there are more discoveries with how it is caused, what it affects, and how to reduce the risk of developing it. Alzheimer s disease is a frightening disease that is represented in humans. There are many concerns with this disease that are worth finding out for the future victims†¦show more content†¦This causes the loss in memory. This system normally works as a transmitter throughout the body. It sends responses to all parts of the body. While having alzheimer s, the transmitters cannot completely get to the brain to i ndicate something wrong. The digestive system is affected because Alzheimer s reductively makes a person sick to their stomach. This is not as often for some people as it is for others, but it is a common issue while having Alzheimer s or Senile Dementia. The digestive system passages the nutrients needed for the body s survival in the needed areas. Without getting food in and out of the body, this system does not work properly. The lack of food and water will only make matters worse for the person dealing with Alzheimer s disease. Alzheimers disease can occur in a person usually in adulthood ages. Very rarely do minors get involved with this disease. For example, Yolanda, started to lose her memory. The quiet but conscientious woman would say hello to a visitor and, moments later, would repeat the same greeting again- then again. By her mid-40s, Yolanda had developed early-onset Alzheimer s disease(Stir 50-57). Alzheimer s does affect the memory of people, but at certain extents. Also, Alzheimer s usually develops in a human when they fully mature over several years. This disease can be passed down by a mutated gene in the