Peer Pressure and Teen Sex Essay Example for Free

Peer Pressure and Teen Sex Essay One in five teens reported having sex before they were 15. One in seven sexually active 14-year-olds also said they have been pregnant. The National Campaign to Prevent Teen Pregnancy 2003 It has long been known that teens are heavily influenced by peer pressure, especially when it comes to sex. The question is not if they are influenced, but how they are affected by peer pressure and what decisions they make as a result. This paper will outline the main issues surrounding this controversial subject with the goal of dispelling popular myths while also providing an understanding of how to most effectively educate teens about this phenomenon so that they will make the best and most informed decisions in whatever circumstances they find themselves. The teenage years are full of changes, from biological transitioning into adulthood to social changes occurring at school and beyond. Peer pressure intensifies during this period as teens begin to become sexually interested and active. According to a project done by the University of Michigan, â€Å"The desire to be popular and fit in is so great, that some people will resort to partaking in behaviors deemed outside of their normal comfort zones, possibly disregarding certain morals and values† (Pressures). The pressure to fit in and to stay ahead of the social vanguard places teens in an awkward and challenging environment because they have scarce background knowledge from which to base their decisions and very few people with whom to discuss these changes with, besides their peers. Teens are very hesitant to approach their parents, teachers and counselors for fear of getting in trouble or for fear of embarrassment and discomfort. In our popular media culture, much of the knowledge teens have about peer pressure and sex comes from the movies and television. This presents another complexity to their already hectic lives as they try to weigh their personal character against the stereotypes and myths laid out through these mediums. Hugely popular movies such as American Pie and Dazed and Confused lead students to believe that having sex is just what people do at this age. While this may in fact be true, the message that teens take away is that everybody is already doing it and that if they want to be cool they will too. According to an article published in Psychology Today, 33% of teens ages 15-17 say they feel pressure to have sex, often from male friends. Interestingly, only 23% of teen girls reported feeling pressure to have sex (Allen). That being said, no matter what kind of peer pressure teens are confronted with, they must figure out how to balance the value of going along with the crowd against the importance of making their own decisions. This is the toughest part for teens to handle because they have so many conflicting emotions and perspectives influencing their behavior. For this reason, innovative approaches to sexual education need to be integrated into the traditional abstinence only education that has proven to be ineffective. Today federal spending on abstinence education, with all funding sources combined, exceeds $1. 2 billion (Lew). This program has failed to include other types of sexual education that would be beneficial to teen’s education because it preaches that the only safe method to having sex is to not have sex. This is of course true, but it is not applicable to our contemporary society. Teens have access to all kinds of sexual information on the internet and through television and movies. This is not to say that all of the information they find is true to life, but it tells teens that the education they are getting in schools about sex is limited and outdated. This is not an engaging or for that matter a useful method of instruction because it ignores issues such as contraceptives and safe sexual practices. Peer pressure begins to take hold and gain force at this juncture as the curiosity of teens is not being met through their formal sexual education. Because of this failure, teens turn to their peers for additional knowledge who in turn are facing their own forms of peer pressure. This creates a cycle of myths surrounding sex. Much of the knowledge peers pass on to each other revolves around either second-hand information or from whatever television show or movie they identify with. From here, clusters of teens, or cliques, form around these myths and interests in a process that creates a certain structure of knowledge based around assumptions and stories as opposed to the facts of research and experience. It is not surprising that teens have sex. It is surprising that school systems continue to form short-sided sexual education programs focusing on abstinence only. If our country wants to improve our sexual health and knowledge, sexual education programs need to diversify their teaching lessons to include contraceptives, sexually-safe practices, and the effects of peer pressure. Works Cited Allen, Collin. (2003). Peer Pressure and Teen Sex. Psychology Today. Retrieved December 10, 2008, from http://www. psychologytoday. com/articles/pto-20030522-000002. html Lew, Irene. (2008). Teens Learn to Apply Peer Pressure for Safe Sex. Women’s E-News. Retrieved December 10, 2008, from http://www. womensenews. org/article. cfm/dyn/aid/2988/context/archive Peer Pressure and Emotions. (2008). Cool Kids and Losers: The Psychology of High School Students in Peer Groups and Cliques. The University of Michigan. Retrieved December 10, 2008, from http://sitemaker. umich. edu/356. tran/peer_pressure_and_emotions

The Enduring Appeal of the Horror Genre

The Enduring Appeal of the Horror Genre What is your topic? Question? Sub-questions? (Not too many!) Hypothesis? What specific issues associated with your topic do you want to investigate (making sure they are capable of being investigated within the constraints of the MA calendar)? What sorts of data will you need to adequately address each of these issues? Why will this data help you in particular? From what sources (places, human subjects, texts, cultural phenomena?) will you obtain this data? How will you obtain the data? (Documentary search? Interviewing? Questionnaire? Observation? Media production? Reflection on practice?) How do you intend (in general terms) to record, manage and analyze this data? What analytical models and theories will you draw on? What will your timetable be month by month? Introduction: answers the ‘so what? question, convince reader you need to do this Literature Review: Contextualises your research. Answers the question:  Where do I fit? Research questions determined. Methodology: Determines the nature of your study design and the  methods you will use. Include how you approach the subject, methods, why, ethics, how you analysed data. Results, discussion, analysis: combined or separate, can be guided by questions Conclusion: Draws everything together and answers your research  questions. Discusses limitation and future work. HORRORS ENDLESS CYCLE: AN INVESTIGATION INTO THE ENDURING APPEAL OF THE HORROR GENRE IN THE NEW MILLENNIUM. INTRODUCTION: The horror genre has deep roots in the classical studio era. Yet in important ways it also looks ahead to the post-classical period, a period of reduced levels of film production and correspondingly weakened genre identities. As a fantasy genre, horror departs in significant ways from the prevailing canons of representation in the classical Hollywood style, whether one takes that mode to be a form of realism or of melodrama. Horror has an identity as an unrespectable genre for an undiscriminating juvenile audience (or an audience that has its mind on other things), with strong roots in exploitation cinema, that has only fairly recently emerged as an attractive genre for large scale production at major studios. Finally, it has attracted significant critical attention in recent years, and in each case theories of postmodernism and – which is not always the same thing – currents in postmodern theory have played an important part in reconceiving the genre for audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance. (Barry Langford, Film Genre: Hollywood and Beyond, 2005) Why choose to live in fear? Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. Thats just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them. (Marshall in Carolyn, 2008). The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the worlds zeitgeist we have, reflecting, rather than creating, the ills and crises of the planets collective psychology. Its been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know its not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them. A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artists point of view. But a really good horror movie, the best horror movie, can take you far beyond: it can take you to a place youve never been, a shadowy chamber of the mind outside of your worldly experience, with story twists and turns that will make you squirm until the lights come on and you emerge victoriously from your two hours in the dark. A great horror movie can be a revelatory experience. A great way to take societys pulse is through the arts and entertainment of the time. And the horror film makes a great thermometer. As I intend to examine in this study, a national or global health is particularly well represented by its fright films. At times of political upheaval, war, depression and recession, the horror cycle runs to a particular high. Adam Simons remarkable documentary, The American Nightmare, about the horror boom of the 1970s arising out of the international upheaval that surrounded the war in Vietnam. Is a terrific examination of how one relates to the other. But as we close in on the end of the new millenniums first decade, we find ourselves in another long-lasting terror boom in a post 9/11 world. Obviously, most of these films are not artistic reflections of social strife, or the primal screams of the mad artist who paints in blood. As they have, with everything else that makes money, the corporate kings have co-opted the popular cycle on their own terms. Where brilliant artists contribute excellent and exciting new ventures, the screens are also littered with the latest iterations of franchises nobody asks for, but are easy to market. In recent years, its been far easier for an industry that isnt interested in or has any understanding of the horror genre to take familiar titles, and remake and sequelise them until the law of diminishing returns proves itself, and they move on to the next title. There are great horror films being made today amidst the dross. But its not quality thats being discussed here, though it obviously plays a part. Its that there is a new and ravening audience for the spilling of blood. Again, theres nothing new about this: filmgoers filled the cinemas during the Depression to see the Frankenstein monster toss an innocent little girl into the pond, to see Count Dracula sup on the blood of lovely blondes; during World War II, Frankensteins monster met everyone from the Wolf Man to Abbott and Costello, and Universal cranked out one monster fest after another, while a quiet, well-real producer named Val Lewton churned out intelligent, atmospheric shockers for RKO; in the 1950s, when the Cold War and Air Raid duck-and-cover drills were the order of the day, nuclear tests gave birth to the giant ants of Them, the humungous grasshoppers of The Beginning of the End, and the radioactivity-breathing Japanese dragon beast of Godzilla; the early sixties turned i nternal, with human monsters like Norman Bates infesting our souls and killing on behalf of the sexual battle within the newly blossoming psychological terror train; the Vietnamese apocalypses were brutal, fed as they were by nightly news imagery of burning bodies and human torture, in a toe-in-the-water test of loosening censorship that led to a free-for-all; the eighties were all about cheap: no stars, gore effects and creative kills being the entire raison dà ªtre for a horror films existence; the complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project. In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view. The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror†¦ at least until the next cycle. (Garris in Carolyn, 2008) In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film. In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genres field of operation and its consistent cycling. Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective. (Wells, 2000)

Media Violence and the Captive Audience :: Exploratory Essays Research Papers

The media, including television programming, cartoons, film, the news, as well as literature and magazines, is a very powerful and pervasive medium for expression. It can reach a large number of people and convey ideas, cultural norms, stereotypic roles, power relationships, ethics, and values. Through these messages, the mass media may have a strong influence on individual behavior, views, and values, as well as in shaping national character and culture. Although there is a great potential for the media to have a positive and affirming effect on the public and society at large, there may be important negative consequences when the messages conveyed are harmful, destructive, or violent. Many psychologists have studied the effect of the media on an individual’s behavior and beliefs about the world. There have been over 1000 studies which confirm the link that violence portrayed through the media can influence the level of aggression in the behavioral patterns of children and adults (American Academy of Pediatrics, 2001). The observed effects include, increased aggressiveness and anti-social behavior towards others, an increased fear of becoming a victim or target of aggressive behavior, becoming less sensitive to violence and victims of violent acts, and concurrently desiring to watch more violence on television and in real-life (A.A.P. 2001). According to John Murray of Kansas State University, there are three main avenues of effects: direct effects, desensitization, and the Mean World Syndrome (Murray, 1995, p. 10). The direct effects of observing violence on television include an increase in an individual’s level of aggressive behavior, and a tendenc y to develop favorable attitudes and values about using violence to solve conflicts and to get one’s way. As a result of exposure to violence in the media, the audience may become desensitized to violence, pain, and suffering both on television and in the world. The individual may also come to tolerate higher levels of aggression in society, in personal behavior, or in interpersonal interactions. The third effect is known as the Mean World Syndrome, which theorizes that as a result of the amount of violence seen on television and also the context and social perspective portrayed through the media, certain individuals develop a belief that the world is a bad and dangerous place, and begin to fear violence and victimization in real life (A.A.P. 2001). The effect of the media on young children is especially salient. Young children often learn how to act and behave from what they observe at home, from the adults and older peers they come in contact with, and from what they see on television.

Children and the Psychological Price of Overachievement :: Parents Parenting Argumentative Essays

Children and the Psychological Price of Overachievement The issue of whether parents are too hard on their kids has been debatable for years. The subject started to present itself more as a problem when the Jon Bennet Ramsey case happened. The performing arts are where the problem of â€Å"pressure parents† seems to be the most prevalent and problematic. When does being there for the children become too much? When does â€Å"what’s best for the children† become the worst possible thing for the children? In the dance world, what goes on backstage to a performer is masked by the way the dancer carries them self on stage. The pressure that comes from a parent, particularly a mother, can be almost unbearable to a performer. Some parents try too hard to give to their kids what they could not or did not have when they were young. Parents try to relive their dreams of being the dancer or prima ballerina through their daughters and sons. Parents should not push their children to extremes. In the article, â€Å" Psychological Price of Overachievement,† by USA Today, they say that there are parents who push their kids too far. They tell their audience, parents and adults, the pressures and the outcomes of the pressures that can be put on the children from their parents. The article is trying to provoke thought in the audience to have them re-evaluate their parenting methods or what will be their parenting methods. The main concern is the kids in this case. The pressure sometimes builds so high that the dancer becomes unhappy and feels the need to do whatever it is to keep their parents happy. This can include developing an eating disorder, such as bulimia, or depression. As a dancer I saw all of these things first hand. Being backstage all that is heard is the voices of the few parents who are just telling their kids over and over that they need to be the best and perform the best out of the whole group of 100 or more people. When the parents would finally leave, many of the girls backstage with me would get so nervous and anxious about their performance and pleasing their parents that they would then go vomit in the bathroom.

The Forests Symbolisim in The Scarlet Letter Essay -- essays research

A Refuge from Prosecution: The Forest in The Scarlet Letter The Scarlet Letter is a tale of constant trial and punishment. For Hester Prynne, there is no escape from the shame and belittlement she has been forced to endure within puritan society. However, like the puritans who had escaped prosecution by migrating from England to the New World, characters in The Scarlet Letter can escape the prosecution of puritan society by visiting the forest. It is a symbolic realm that embodies freedom and privacy, and the only sanctuary for those who seek liberty to express their true nature, whether it be through acts of love, or heresy. The forest as a symbol of escape from puritan society is persistent throughout the novel through its use by the witches and the Black Man, Dimmesdale and Hester?s interactions there, and Pearl?s union with nature there. From its earliest significant mention in the novel, the forest is portrayed as a place of lawlessness and mystery, as demonstrated by its most frequent visitors, the witches, and the Black Man that inhabits it. Early in the book, after Hester and Pearl visit Governor Bellingham?s estate, they are accosted by Mistress Hibbins, who is referred to as a witch, and is in good company with the Black Man of the forest. Mistress Hibbins invites Hester to some sort of meeting that would take place that night in the forest, which one can only assume is of some Satanic or heretical nature. ?Wilt thou go with us tonight (120) she asks, but Hester refuses. The Black Man and his book are themselves symbols of heresy and dissent from puritan law. The Black Man never shows himself to anyone in the novel or enters the village, instead, he lurks in the forest?s cover until those who choose to deviate f... ... showing a less hostile nature. She adorns herself with flowers, and is in ?closest sympathy with the antique wood.? (214) Through this description of Pearl, the forest takes on a sympathetic nature, and is portrayed as an environment where one can find peace with one?s surroundings and be in an environment where they feel amicability instead of antagonism. Of all the symbols in The Scarlet Letter, the forest is one of the most important. By providing an escape from the overbearing nature of puritan life, the forest allows characters to be presented in a different backdrop, it can serve as a place of both light and darkness, but above all, liberty. For every character that visits it, the forest is freedom, protection, and peace. Without it, there would be no contrast with the village as well as puritan society, and Hawthorne?s message would not be as convincing.

Crisis and conflict are inevitable in capitalist economies Essay

‘Marx believed that capitalism was doomed, and he developed an intricate analysis of the ‘ law of motion’ of capitalist society to prove it’ (Fusfeld 2002, p 50). At one level his argument had a moral basis. He argued that the ‘inherent injustices of capitalism lead ultimately to social and economic conditions, which cannot be maintained’ (Fusfeld 2002, p 50). On another level his argument is sociological: ‘class conflict- between a decreasing number of increasingly wealthy capitalists and a growing and increasingly miserable working class- will lead ultimately to a social revolution’ (Fusfeld 2002, p 50). To conclude his Final argument is economic, that ‘the accumulation of capital in private hands makes possible economic abundance; yet accumulation also leads to depressions, chronic unemployment and the economic breakdown of capitalism’ (Fusfeld 2002, p 50). At each level the idea of ‘conflict is emphasized: conflict between ideal reality, between capital and labor, and between stagnation’ (Fusfeld 2002, p 50). Out of conflict comes change, and in this respect according to Marx, capitalism must give way to another society in which conflict is replaced by ethical, social, and economic harmony. Furthermore, Marx argued that the crisis would become deeper and severe longer as capitalism developed. Student no. Z3220293 However Marx’s analysis of conflict within capitalist societies was limited by his theory of the ‘laws of motion’. He argued that conflict between classes created by an unequal distribution of wealth, and would ultimately lead to an unsustainable social situation prompting the demise of the world capitalist system. Thus, he perceived class conflict as the fatal flaw of capitalism. However his detractors would argue that conflict of some form exists in all human interactions and thus has existed in all political and economic systems, concluding that capitalism addresses this inherently human conflict in order to avoid crisis. In a capitalist society according to Marx, the two great economic interests are those of a capitalist and worker. These two classes stand opposition to each other, since the capitalist can prosper only if the worker is exploited. In this respect capitalism is only the latest in series of social organizations in which one class exists at the expense of another, stated in the communist manifesto. Marxists would further argue that peoples dominated politically or economically by great capitalist nations now bear the burden of exploitation, poverty and unemployment However as a proof of Marx’s errors, his detractors point to the rising living standards of modern nations. ‘The working class has not been subjected to growing misery, and labor unions have gained economic and political power in all major industrialized countries’ (Fusfeld 2002, p 50). Moreover, the working class Student no. Z3220293 has shared the increased wealth, income, and economic benefits that have been spread widely throughout all social classes. In spite of all the ‘concessions’ that have been made to the working class, such as social welfare legislation, union organization and higher living standards Marxists contend that the ‘basic defects of capitalism remain, holding back economic growth and postponing the emergence of the abundant society’ (Fusfeld 2002, p 50). Nevertheless Marx’s prediction of the triumph of socialism and the creation of democratic, egalitarian, and nonexplotive society has not proved accurate. ‘Capitalism was placed on the defensive by the rise of communist regimes in Russia and China, and by the spread of socialism through many of the less-developed countries’ (Fusfeld 2002, p 60). But in most instances, these non-capitalist economies developed authoritarian political regimes, new forms of economic and social inequality, and new aspects of exploitation. Ultimately Marx argued, as Fusfeld states ( 2002) the economy could achieve widespread abundance and produce enough for all, and at that point in human history all people could be completely free, both politically and economically. Further more Marxist economics suggested that capitalism could not achieve this Student no. Z3220293 goal, as it prevented the full development of modern technology and resulted in periodic stoppage of capital accumulation. However, it is evident that under capitalism technology has flourished. More so capitalism has provided the push for new productive industries, as it is a continued to growing and change. Thus such an economy offers more opportunities then a stagnant one. For example China is the manufacturing hub of the globe. Even though China has its roots in communism it is still regarded as an extremely influential capitalist society. Its cities are booming. There are more building cranes in china than in all the United States. China’s super-highways are filled with modern cars. Its research and development centers are state of the art. At the rate it’s growing, China will soon be the largest economy in the world. In these respects it is evident to conclude that under capitalism economies have grown and benefited, due to its productive nature. Further more, in a Marx perspective, labor under capitalism is exploited as it is not paid the full value of the products and services it produces. ‘The capitalist employs workers at the current wage rate and works them for as many hours each day as possible, making sure that the value of the workers’ output is greater than the wage paid’ (Fusfeld 2002, p 61). This difference between the wage and the value added by the worker, which Marx refers to as ‘ surplus value’, becomes the capitalist profit. Exploitation of the worker can be intensified, and the ‘ surplus Student no. Z3220293 value appropriated by the capitalist can be increased, by an employer’s efforts to achieve lower wages, longer hours and an employment of greater number of women and children. Marx was correct in some respects, for example developing countries at present are experiencing high rates of exploitation. Women and children whom work in such exploitive environments in china for example for less then a few dollars a day are the truth in Marx’s theory. More so, Marx critique of capitalism included a forecast of its inevitable break down. In some instances capitalism has served as an unstable society, which has been suffocated with conflict and crisis. For example the great depression and the 1987 recession. In both instances the economy had if not almost hit bottom. In a Marxist view this could be concluded as the demise of capitalism. However his detractors would argue that conflict of some form exists in all political and economic systems, concluding that capitalism addresses this inherently human conflict in order to avoid crisis. Which in some respects is true. For example on black Monday of the October 1987 when a stock collapse of unprecedented size lopped twenty-five percent off the Dow Jones industrial average. The collapse, larger than that of 1929, was handled well by the economy and the stock market began to quickly recover. More so during the great depression certain strategies were adopted to deal with the crisis. The ‘ new deal’ was the name given by President Franklin D. Roosevelt of programs between 1933-1938 with the goal relief, recovery and reform of the United States Student no. Z3220293 economy during the great depression. The ‘ new deal’ had three components, direct relief, economic recovery and financial reform. In these respects one can observe the recovery of capitalist economies and their ability to continue to grow. To conclude it is evident that crisis and conflict is inevitable in capitalism however such an economic system is able to adapt and recover from such conflict. References student no. Z322093 Campbell, D 1996, the failure of Marxism-the concept of inversion in Marx’s critique, Dartmouth Press, London Cohen, G A 1978, Karl Marx theory of history, Oxford University Press, London Culter, A, Hindess, B, Hirst, P & Hussain, A 1977, marx’s ‘capital’ and capitalism today, Routledge &Kegan Paul Ltd, London Fusfeld, D 2002, the age of the economist, 9edn, Addison Wesley Press, Harman, C 1995, how Marxism works, 5edn, Bookmarks Press, Sydney. Worsley, P 2002, Marx and Marxism, revised edn, Routledge Press, London

Workplace Violence

Workplace violence is present in every nook and cranny of corporate America, affecting millions of Americans every year. Workplace violence is defined by the Occupational Safety & Health Administration, OSHA, as any act or threat of physical violence, harassment, intimidation, or other threatening disruptive behavior that occurs at the work site. It ranges from threats and verbal abuse to physical assaults and even homicide. In 2011, there were over 2 two million reports and claims of workplace violence, with 458 being homicides1. Workplace violence is at the forefront of everyone’s mind when a breaking news story is broadcast on the evening news, such as the recent shootings in Santa Cruz, California by a disgruntled ex-cop, and the Sandy Hook Elementary School shooting in Newtown, Connecticut, but workplace violence can strike anywhere and at any time, and is a major concern for employers and employees across America. There are different types of workplace violence, which can be categorized as follows: (1)violence by outsiders or nonemployees, usually in the attempt of a crime, such as robbery or shoplifting, (2)violence by a customer or a client, such as a student or a patient, (3)violence by employees and former employees, and (4)violence by domestic partners, such as boyfriends/girlfriends and husbands/wives. Such categorization can help in coming up with ways to prevent workplace violence since each type of violence requires a different approach to prevention, and certain workplaces and environments may be at higher risk for certain types of violence. Although workplace violence can seem very random, there are certain industries and job categories that are more susceptible to violence than others. According to OSHA, certain factors can increase the risk of violence in the workplace, such as exchanging money with the public, working with unstable people, and working where alcohol is served1. People working in certain establishments, such as retail stores and bars, are at increased risk of violence. Professions in law enforcement, healthcare, public service workers and those who work alone or in small groups are at greatest risk of violence. Manager’s role in identifying and reporting workplace violence. Every employee of an organization is responsible for providing a safe and secure environment to work in, and thus should be knowledgeable about workplace violence and be ready to act in advance to reduce the threat of violent incidents. Managers especially have a big duty to make sure that the work environment of their employees has minimal stress triggers, and that the department culture is one that is friendly and open, ensuring that employee safety is valued. Managers should follow their progressive discipline policy when addressing concerns with employees to prevent violent reactions by employees who feel that they have been treated unfairly. Managers should also treat their employees with respect and decency, especially when disciplining or firing them, as depriving an employee of dignity in front of other employees can trigger violent behavior. Most importantly, managers need to be trained on what clues to look for, and how to handle certain situations when confronted with warning signs of workplace violence by employees. This will allow managers and subordinates to know the warning signs and report them to management accordingly. Sure there are people that suddenly ‘snap’ and go off the deep end, but in most instances of workplace violence, there are certain signs of trouble that are exhibited by the perpetrator. According to Dr. Lynne McClure, an expert in managing high-risk employee behaviors before they escalate to workplace violence, there are always warning signs involving workplace violence2. She puts these eight warning signs in the following categories: †¢Actor behaviors – employees act out their anger by yelling and shouting †¢Fragmentor behaviors – employees take no responsibility for their actions and blames others for their mistakes †¢Me-First behaviors – employees act selfishly without regard to fellow coworkers †¢Mixed-Messenger behaviors – employees talk positively but behave negatively †¢Wooden-Stick behaviors – employees are not receptive to change, and are inflexible and controlling †¢Escape-Artist behaviors – employees compulsively lie and rely on negative stress relievers such as drugs and gambling †¢Shocker behaviors – employees suddenly act in ways that are out of character †¢Stranger behaviors – employees are remote and have poor social skills, and become fixated on an idea and/or an individual. There is no standard ‘profile’ of a person who commits workplace violence, and by no means is someone a threat just because they display one of these traits. Employees that exhibit many of these traits, and with increasing intensity, may be a danger and may need some help. Being able to identify these signs and warning signals, and reporting it to management timely can help prevent a workplace violence incident. HR’s role in managing and preventing workplace violence. Every reasonable employer wants to keep employees safe from workplace violence, but according to the Bureau of Labor Statistics, less than 30% of employers have a violence prevention policy in place3. Outlined below are some things that a human resource department can implement to mitigate workplace violence. †¢Violence Prevention Policy – First and foremost, every company should implement a zero-tolerance policy against workplace violence, which clearly defines what workplace violence is, and the company’s position on it. The policy must clearly outline which behaviors and actions are acceptable and which are unacceptable. The policy should state that violence of any kind is not tolerated and is grounds for immediate termination. †¢Training – Training for managers and employees to ensure that they know the warning signs for violence is critical. There are many signs that can point to indications of imminent violent, so training the employees to recognize the warning signs can help stop a violent act by identifying the individual and providing assistance before a violent act is committed. Each and every employee is responsible for creating a safe working environment, and it is HR’s job to help employees get the training necessary to manage a safe workplace. †¢Hiring, retaining and firing – HR plays a critical role in preventing violence in the workplace with its hiring, retention and firing practices. Usually, past behavior can predict future behavior, so it is important that the HR department screen potential new hires carefully. One way to avoid workplace violence is by not hiring people who exhibit violent behavior. Thus, the HR department must conduct thorough background checks on all potential new hires. Companies should make it a general policy to run background checks on all applicants before hiring them. HR departments must make a concerted effort to carefully screen all potential new hires by scrutinizing information on resumes and conducting reference checks. Also, HR can help prevent workplace violence by rooting out trouble-makers early. Retaining employees who have had behavioral issues in the past can expose a company to workplace violence and litigation. The HR department needs to be proactive with helping to identify employees that pose a potential danger thru through analysis of past work records. For example, if an employee has had issues with making threats or getting into confrontations with coworkers in the past, immediate ction may need to be taken before any major incident occurs. Finally, HR plays a big role in creating a peaceful environment when handling employee terminations. When an employee gets terminated, it is a very stressful event for the employee, and ca n push him/her over the edge. In order to ease the stress and alleviate some of the pressures on the employee being terminated, the HR department can help the situation by being compassionate and clearly explaining the reasons for the termination and allowing an opportunity to the employee to discuss any disagreement with the termination. Also, the HR department can provide placement or counseling services. Provide an employee assistance program (EAP) – there are many reasons that someone resorts to violence in the workplace, but some stem from issues outside of the workplace, such as relationship issues, financial troubles, or substance abuse problems. Employing an EAP can provide help to employees before a serious incident manifests itself in the workplace. Through the use of an EAP, employees can help manage their issues by coordinating with an objective, third party. All types of services should be offered, including counseling, anger management classes and rehabilitation services. Financial Impact of Workplace Violence – Calculating the Cost Workplace violence is real, and with it comes real costs. The actual cost of workplace violence is hard to calculate, but per the National Institute for Occupational Safety and Health, NIOSH, a division of the Center for Disease Control, it is estimated that workplace violence costs American businesses $121 billion a year4. This takes into account many factors, including costs due to lost productivity, loss of sales, increase in insurance premiums, litigation costs, lost time and absenteeism, workers’ compensation claims, medical claims, management distractions, negative PR, and organizational change initiatives. According to the Bureau of Justice Statistics5: †¢About 500,000 victims of violent crime in the workplace lose an estimated 1. 8 million workdays each year. This represents a $55 million impact as a result of loss of productivity and increased healthcare expenses †¢Domestic violence costs businesses approximately $6 billion annually in healthcare costs, lost productivity, and missed work time †¢The average out-of-court settlement for ‘negligence’ litigation is approximately $500,000 and the average jury award is around $3 million †¢For 6 to 18 weeks after an incident, there is a 50% decrease in productivity and a 20% to 40% turnover in employees The cost of recovery after a catastrophic, workplace violence incident is astronomical, so it is in every company’s best interest to put in place the necessary preventive measures to avoid such incidents from happening in the first place. Unfortunately, most companies are reactive instead of proactive, so the costs associated with workplace violence may be viewed as the cost of doing business, big business at that. Everyone plays a role in preventing workplace violence. Even with workplace violence receiving increased attention, there is much work that needs to be done to understand the causes and potential solutions. Management, front line employees and the HR department must work together collectively to prevent the next workplace violence incident. The best practices set forth must be implemented and adhered to with perfection. A company can’t guarantee that a violent act will never happen between their four walls, but there are preventive measures that can be taken to improve the chances of avoiding a workplace violence incident.