A Christian Worldview and Ethical Dilemmas
This one is Part2 it has to have same ethical dilemma. You are going to use the same ethical dilemma for all three parts of the assignment.
This assignment has 3 parts all three parts need to use same Ethical dilemma .
- Use the same ethical dilemma you selected in part 1.
- Consider a Christian worldview and produce an outline of three Christ-centered themes and outcomes that can be applied to the case.
o Examples include: compassion (see Matthew 5), inclusion (see Luke 23:39-43), sensitivity (see Luke 8:42-48), empathy (John 11: 1-44), selflessness (see Matthew 11:28-30), or patience (see Matthew 5:38-40) that frame their previously identified ethical dilemma vignette.
Reminder: Please use the same ethical dilemma for all three parts of the assignment.
- Submit your assignment before the deadline.
• Path 1: Ethical Dilemma Vignette 1: A Suffering Caregiver (opens in new window) https://www.ethicalpsychology.com/2011/05/ethical-vignette-2-suffering-caregiver.html
• Path 2: Ethical Dilemma Vignette 2: A Psychologist as a Character Witness (opens in new window) https://www.ethicalpsychology.com/2012/01/vignette-9-psychologist-as-character.html
• Path 3: Ethical Dilemma Vignette 3: To Evaluate or Not to Evaluate (opens in new window) https://www.ethicalpsychology.com/2012/07/to-evaluate-or-not-to-evaluate.html
mann’s death is foreshadowed after just four chapters; after the scene where he encounters his “plötzliche Neigung” kissing another man, he decides that he will never love again as this only causes him “Gram und Leid”. Herr Friedemann has been described as having ‘precarious epicureanism’ , which suggests, and somewhat validates, that his desires were subdued in order to obtain greatest ‘pleasure’, although his suppressed sexual passion does not lead to satisfaction, rather tragedy. There appears to be something significantly ‘Apollonian and Dionysian’ about Herr Friedemann’s suicide. Moments before his death, his expresses his ultimate Dionysiac wish “sich zu vernichten [und] sich in Stücke zu zerreisen”, yet he is only able to “sich [schieben] noch weiter vorwärts [und] ins Wasser fallen”. This makes the suicide seem antithetical, to such an extent that Mann’s grave, dramatic free indirect style is pitifully undone by Herr Friedemann’s pathetic death. He can barely muster the strength to make it to the water; there is certainly no ‘dagger through the heart’ moment, not least an act of pathos that may lead the reader to sympathise with the fallen protagonist. Perhaps Herr Friedemann’s self-pitiful death is in keeping with the inner morality of his personality. His Apolline view of the arts, that appeals to the purity and melodrama of music, more specifically Wagner, is all part of a his ‘life sustaining lie’, as Frau von Rinnlingen discovers in the final chapter, such that his life as an ‘artist’ is in fact futile; shown fully by his self-destruction in the final Dionysiac moment of annihilation and self-disgust. I suppose this is the psychological paradox that causes Herr Friedemann such distress; T.J. Reed tells us that an artist’s “bacchantic howling only proves imcompetence”, who “merely vents [their feelings] in helplessly inarticulate sounds” . This seems to perfectly epitomise the character of Herr Friedemann, who drowns himself in water that is only deep enough to cover his face, leaving the rest of his body on the ground. Mann’s narration of the final scene encompasses the Apollonian and Dionysian psychology of the protagonist as he commits suicide. The free indirect style of “was ging eigentlich in ihm vor, bei dem, was nun geschah?” is delivered with a critical, cold impassivity that destroys Herr Friedemann’s possibly ‘Wagnerian’ dream of a love towards Frau von Rinnlingen, and recapitulates in his almost grotesque, mental annihilation that appears in stark contrast to the ‘Wilhemine mundanity’1 in which the novel is set. Mann provides a compelling narrative from a distinctly extra-diegetic standpoint. This removes all form of sympathy from his narration and enables the novel to become an example of social impropriety and moral redundancy; how can Herr Friedemann expect that Frau von Rinnlingen will suddenly become adulterous in this social setting, and hence how is it possible that he cannot be aware of the fact that this romantic passion that he feels is incongruous. This Dionysiac attitude is what creates his internal chaos; what I mean by this is that Herr Friedemann search for pleasure is deeply irrational and ultimately causes his pain. Nietz>GET ANSWER