Use the same ethical dilemma you selected in part 1.
Choose a professional ethical decision-making model to apply to the ethical dilemma.
select one that you have been introduced to in this course.
Demonstrate all of the steps from the model that you selected to apply to work through the selected ethical dilemma vignette.
Create a narrated presentation to present your application of the model to the selected ethical dilemma.
Submit your presentation before the deadline.
Path 1: Ethical Dilemma Vignette 1: A Suffering Caregiver (opens in new window)
Path 2: Ethical Dilemma Vignette 2: A Psychologist as a Character Witness (opens in new window)
Path 3: Ethical Dilemma Vignette 3: To Evaluate or Not to Evaluate (opens in new window)
literature in scientific theory, whereby characterisation, hereditary disease, and psychology, are all linked by means of ‘biological determinism’. That is to say that Herr Friedemann’s fate is ultimately inevitable as a result of his degenerate life that he succumbs to, by being both physically and morally weaker. It is no coincidence that the hunchback he is fatefully given by the maid when he dropped in the first chapter, stunts his growth both in terms of stature and emotion. His misconstrued emotions therefore, tie in with his chaotic ‘Trieb’, that allows this naturalist, determinist work to ascertain an almost proleptic structure; Herr Friedemann anticipates and resolves potential problems, before they have even arisen; the finale tragically descends into an obdurate nihilistic dissection of his social misfortunes, that Mann presents through a naturalistic, fateful tone; an outsider’s voice that permeates through the free indirect style, commenting on what becomes, through Frau von Rinnlingen’s “kurzen, stolzen, verächtlichen Lachen”, a melodrama, that appeals to Mann’s sentimentality and emotionality as a writer. We can extend the idea that Herr Friedemann’s suicide is more melodramatic entertainment than it is sincere, heartfelt narration, through the impact of Wagner on, not only the genre of ‘melodrama’, but also the work itself. ‘Music is of course an integral part of Mann’s aesthetics’ , above all in Wagner’s operas, which, while they were often grand and expressive, contained melodramatic features, or ‘leitmotifs’, that 19th Century authors derived into their works. When referring to Der Kleine Herr Friedemann, the term ‘Wagnerian’ is inherently contradictory to ‘melodrama’ unless we consider the plot itself. If we take an impotent young man, who tragically falls in love with a beautiful woman and ends up killing himself – this is the grand Wagnerian opera – whilst the ‘melodrama’ exists in the smaller moments, the crucial scenes of emotion and sentimentality, whereby narrative ‘leitmotif’ is used to underpin the drama. A key musical example would be Wagner’s epic musical drama Der Ring des Nibelungen, where melodramatic leitmotifs are employed to represent certain characters or situations; it is therefore possible to see Herr Friedemann’s suicide, particularly with the questioning free indirect style that reoccurs through the novel, as a melodramatic leitmotif. We could take this even further and say that Mann’s narrative variation, in terms of style, is his version of the leitmotif. For example, the questioning internal monologue of “was ging eigentlich in ihm vor, bei dem, was nun geschah?” is, in terms of narration, stated earlier in chapter 11, with “was sie nicht eine Frau und er ein Man?”. We may look a Mann’s narrative leitmotifs as a way in which he emphasises melodrama, without retracting from an overall serious, thought-provoking novel. Seeing Herr Friedemann’s death as melodramatic may explain why it is presented so pitifully, with the excessive grandeur that one might expect with the suicide in a Wagner opera or a Shakespearian play. An important comparison to make at this point is with Wagner’s perhaps most Wagnerian opera Tristan und Isolde. The final aria, located, symbolically, on the border of land and water, sees Isolde dramatically and emotively sing next to her dead husband in an act known as the ‘Liebestod’. Wagner’s music is climactic and grand and all that you would expect from such an emotionally-charged suicide. Mann is clearly influenced by this scene: Herr Friedemann feels this ‘Liebestod’ in a similar way to Isolde, although perhaps more within h>GET ANSWER