Influence of Oscar Wildes Sexuality

Influence of Oscar Wildes Sexuality Oscar Wilde (1854-1900) was a writer whose homoerotic texts pushed the social boundaries of the Victorian era. Born to a family of unabashed Irish agnostics, the self-proclaimed dandy valued art, fashion, and all things physically beautiful. After receiving a comprehensive education from Oxford, Wilde made a name for himself in London first as a novelist, penning the now famous The Picture of Dorian Gray. A string of successful plays followed, among them The Importance of Being Earnest and An Ideal Husband. Wilde also published a variety of short stories and essays, but is acclaimed by historians for his pioneering influence over the aesthetic movement, a progression that opposed the accepted Victorian take on art in every way, shape, and form. Wilde postulated that art existed solely for itself, only for the sake of being art. His play The Decay of Lyingexemplified this tenet best, personifying his distaste for societys proclivities through a conversation between two people in a park.Though he fathered two sons, Wildes marriage fizzled as his personal life continuously hinted at homosexuality. Wildes inability to keep his private life secret proved to be his downfall; a love affair with a prominent nobleman resulted in Wildes imprisonment and expulsion from British social circles. Victorian Britain became increasingly morally rigid, its period marking a time when Britain was experien cing a growth in imperialism and conservative thought. While serving his term for homosexual acts, Wilde wrote the deeply spiritual De Profund is, in which he discussed his aspirations of individuality and freedom from the proprietary values that bound late Victorian society. An avant-garde writer and raconteur, Wildes sexuality had a profound effect on his works, influencing imagery and the nature of his characters in both The Picture of Dorian Gray and The Importance of Being Earnest. Wildes sexuality and effeminate nature shaped his relations to aestheticism, which in turn manifested itself in his works moral implications. Wilde frequently employed thinly disguised doubles, representing himself in his work in order to juxtapose anaesthete and a traditionally Victorian society. Wildes aesthetics are strangely connected to his obsession with Jesus Christ. It is peculiar that such an unorthodox figure such as Wilde would find so much solace and inspiration from such a religious source. In De Profundis, Wildes admiration for and comparison with Jesus takes on many levels. He likens his persecution to Jesus crucifixion, a notion that evokes hubris, especially given Wildes naturally flamboyant disposition.Though not entirely humble, Wildes comparisons are ba sed more on parallels drawn between Wildes persecution and the events leading to Jesus martyrdom. Many speculate Wildes eventual baptism and acceptance of Catholicism was a manifestation of imminent deaths madness as the famed author was too radical to accept religion within the boundaries of sanity. However, there are critics who contend that Wilde was very much in the mainstream of the intellectual currents of his time, a man clearly aware of what he was trying to achieve in terms of his life and art; in the end, he was willing to accept his newfound status as a pariah, provided he could still create plays and prose. Considered by many to be the most outrageous trial of the century, Wildes fall from grace was so indicative of his progression and the significance of his unique works set in a time between the Victorian era and the modern age (Hoare 4). Wildes persecution reflected a clash of morals and ideals not unlike those faced by the protagonists of his novels. Wildes trial mimicked his imaginative fiction: it was a clash of opposites: of good versus evil, of heterosexual and homosexual, of masculine and feminine, of the safe and the dangerous, of what was seen as morally right or morally wrong (Hoare4). Homosexualitys Influence in The Picture of Dorian Gray and The Importance of Being Earnest Wildes homosexuality had a profound influence over his work. His own experiences and relationships are projected into The Picture of Dorian Gray, and it is widely speculated that the characters Basil, Lord Henry, and Dorian are different aspects of Wilde himself. Wilde wrote that Basil is how I see myself, Lord Henry how the world sees me, and Dorian how I would like to be (Ericksen 101). The controversy behind The Picture of Dorian Gray was based in the extreme homoeroticism of the characters interaction; it is easy to see how Wildes writing elicited such a reaction. The male relationships are surely suggestive enough to stir even the most open-minded in the Victorian era. Wildessexuality affected the structure of the relationships as well, opening the book with the making of a homosexual love triangle involving Basil, Dorian, and Lord Henry. Basils painting is intimately connected with his adulation of Dorians physical beauty. Dorian, in turn, adores LordHenry, a man of stature who introduces him into a new coterie. LordHenry, in turn, adores Dorians physical beauty but also his relative innocence and the opportunity to mold him into the type of Victorian socialite everyone will adore. The novel opens with Basils overstated obsession with Dorians good looks. Basils sentiments, however, are undeniably romantic. As he paints his masterpiece, Basil is described as looking wistfully at the canvas, a smile of pleasure passing across his face as he lingers over the image he created (Wilde 1962, 20). In the case Basils day dreaming was too speculative a conclusion to make, Wilde provided his readers with interaction between Basil and Lord Henry sufficient enough to establish a romantic attraction for Dorian inside Basil. WhenLord Henry walks into Basils studio, Basil plans on keeping his subjects identity a secret out of jealousy. Basil immensely likesDorian, and has grown to love secrecy as it ensures that he will not have to share Dorian with Lord Henry (Wilde 1962, 22). Though it is later discovered that Basil is concerned that Lord Henry will corrupt Dorian with his cynicism and overdeveloped penchant for amorality, Basil is extremely protective of a man who he has be friended solely on the basis of his physical appearance. He describes to Lord Henry how upon seeing Dorian for the first time his face grew pale, knowing he met someone whose mere personality was so fascinating that [it could]absorb him if he allowed it (Wilde 1962, 24). Wildes homosexuality is significantly influential not just over the course of the plot, but also in the development of character relationships. Lord Henrys attraction to Dorian Gray is multi-tiered. Half the attraction to Dorian is on account of his youth, a possible reflection of Wildes relationship with younger men. The other half of Lord Henrys attraction to Dorian is his ability to mold Dorian into alike-minded socialite, a member of his New Hedonist group. However,Lord Henrys attraction, like Basils is undeniably romantic in nature. Though Lord Henry finds Dorian attractive, Dorians hold over Lord Henry does not fully take root until after Basil rambles on and on about his curious idolatry he has developed, and how he couldnt be happy if he didnt see Dorian everyday; Lord Henry takes serious notice of Dorian after Basil confides that he finds the young man to beabsolutely necessary to Basils life (Wilde 1962, 27). Wilde developsLord Henry in this way to stress his association wi th society at large; most people are not loved by everyone unless they are first loved by a few. Society, Wilde argues, will love whom it is deemed fashionable to love. Following Basils affirmations and affections, Lord Henry observes the young Adonis [made out of] ivory as wonderfully handsome, with his finely curved, scarlet lips, his frank blue eyes,his crisp gold hair; it comes to no wonder why Basil worshipped him(Wilde 1962, 33). The love triangle develops past Basils death; even Dorian finds himself attracted to Lord Henry. A peculiar observation is Dorians loss of composure after observing Lord Henrys romantic, olive-colored face and warm expression; Wilde writes that Dorian is in disbelief at his trepidation upon meeting Lord Henry (Wilde 1962, 38).After all, Dorian is not a schoolboy or a girl (Wilde 1962, 39). As Wildes homosexuality became more apparent, he began leading double lives. One of his lives was socially acceptable, as society perceived him as a married man with two sons. His other life was one spent among male prostitutes, renting houses outside London in which he would have extramarital, homosexual affairs. The incredible restriction Wilde faced was more because of his homosexuality than his marital infidelity. In leading his double lives, Wilde designed four characters in The Importance of Being Earnest to exude differing degrees of duality. The multiple personas were a reflection of the masks Wilde used as a means of personal adjustment, a prevailing theme among the four characters (Ericksen 151). The first character is Jack Worthing, a responsible man typical of the Victorian era. The legal guardian of a young woman, Jack finds it to be increasingly difficult to enjoy himself through the minor indiscretions that provide the average young man with such entertainment. As a re sult of his guarded nature, Jack creates his double, an alter ego he claims as his younger brother, whom he names Ernest. When Jack leaves the country and his responsibilities, he becomes Ernest, a mischievous character in contrast to the composed, model citizen Jack. The second character is Algernon Moncrieff, friend to Jack Worthing and first cousin to the woman Jack intends to wed. Algernon also leads a double life, though his double life involves animaginary friend of sort, a man whom he names Bunbury. The third character Wilde incorporates is Gwendolen Fairfax, the object of Jacksaffection. Though she accedes to her mothers will in public, Gwendolenrebels in private, pursuing Ernest without her mothers consent.After Jack plans to wed Gwendolen, she mentions she cannot marry a man whose name is not Ernest; this creates quite the dilemma for Jack, as he had originally planned to kill Ernest with another fabrication.The final character, Cecily Cardew, is a ward under her guardian, Jack Worthing. Tutored in the country, Cecily longs for a life outside her country estate, falling in love with the deviant Algernon. The doubles are a forward testament to Wildes life as a homosexual inVictorian London. As a Jack among his peers and Ernest among his lovers, Wilde is best personified in Algernon, though is present in both Jack and Algernon as they are constructed on similar principles and ideas (Ericksen 151). Both Jack and Algernon lead double lives, hence the similar principles and ideas. However, where Jack and Algernon differ is the nature of their double lives. Jacks alter ego, Ernest, is someone whom he actually becomes upon entering town. Algernon, on the other hand, claims to be visiting Bunbury, his imaginary ego. Algernon remains the same; the only thing that changes is his behavior. While both Algernon and Jack are sophisticated men of the world, only Jack finds the need to change his identity and life as he shifts social circles (Ericksen 152). Like the socially accepted individuals in Victorian society, Jack is rigid, morally sound, and never deviant. Initially known to Algernon as Ernest, Jacks transformation is almost instant as Algernon reveals his knowledge of Ernest/Jacks deviance with names. Ernest is wistful and madly in love with Gwendolen until his true ego, Jack, is revealed. As soon as Algernon shows Jack/Ernest the cigarette case, Jack shows himself, pointing out how ungentlemanly [a thing it is] to read a private cigarette case (Wilde 2005, 12). Algernon, now Jacks foil following Ernests departure, retorts with an epigram truly reminiscent of a dandy, stating the [absurdity in] having hard and fast rules(Wilde 2005, 12). The two characters play off each other from the very beginning, revealing their intentions. Algernon remains the deviant, bored with his surroundings and endless cucumber sandwiches (Wilde2005, 4). Jack leaves to indulge in the sort of behavior from which he is restricted as he is responsible for Cecily. Like Wilde, who has a family of his own, Jack cannot overindulge without risking social harm to his family. Ernest, then, is a double play on words; in indulging ones earnest, or true self, one escapes the constrictive Victorian society of moral and social obligations. Wildes aim here is to escape the Victorian moral code, returning to the Hellenistic antiquity of male relationships. Strangely, most everyone except Jack longs to see or meet Ernest.Algernon himself assumes the identity of Earnest in his quest to meet Cecily. Much to Jacks chagrin, Algernon decides to assume the identity of Algernon simply out of curiosity. Algernon has no ulterior motives; he wants to be Ernest just to be Ernest, a reflection of Wildespredisposition toward universal simplicity. Cecily also longs to meet Ernest, as she has heard of his antics and looks forward to a relative several degrees less rigid than her estranged guardian. Gwendolen is madly in love with Ernest partly due to her empathy for Jacksupbringing, and partly because of her obsession with his name. ThroughErnest, Wilde reveals his wishes of acceptance; he wants people to desire his homosexual identity and accept him not in spite of it, but because of it. Victorian values were imposed on every part of culture. Because of the great successes and advances felt by the 1860s, it was assumed that the throne had arrived at something new and worth keeping. An increasingly prudish era, the Victorian, puritanical movement required that all art have purpose. Whether to emulate a person, place, or event, art needed a reason to exist. It could be veneration of the object, veneration of the genre, or even veneration of the artist, but all art, including the written word, was subject to the Victorian standard if it was to be accepted by the general public. Like so many other movements, the Victorians were faced with the concept that art existed for art, that its sole end is itself and nothing more. While many mistakenly attribute this movement to Wilde, he in fact did not create aestheticism, he was merely its vehicle (Gaunt 119). As an Irishman, it was only natural that Wilde would be the catalyst for such a movement. Ireland was still relatively free of the imperialist expansion, allowing for a medium of trade most of England could not match. Wilde, after all, was not from the industrial wastelands of Liverpool, Manchester, or London. He was from the dingy magnificence of Dublin (Gaunt 119). Wildes aesthetics are rooted in his education, primarily his preoccupation with Hellenistic Greece and the old texts involving male relationships. When searching for the concept of beauty, he might havegotten his ideas from the great 6th century Hellas, where Wildeperceived the triumph of Greece and great civilization was its creation and representation of a supreme form of beauty (Gaunt 120).The ancient Greeks may have appealed most to Wilde because of the high premium they put on male-male relationships. Viewed as the most pure of all loves, homosexual male love was venerated by great leaders as well as scholars. The king of the gods and Mount Olympus, Zeus, was known to have a male lover, a young shepherd by the name of Ganymede. Contrary to the Victorians, who had inherited a set of religious beliefs based on faith rather than reason, Wilde had no concrete religious beliefs at all (Ericksen 19). The Aesthetic Movement, of which Wilde was soon to become the representative figure, was essentially a reaction against the ascendance of Philistinism in art and life (Ericksen 19). Wilde was determined to cultivate his own individual impressions of the world (Ericksen 19). Though he quickly became the most prominent aesthete, Wildes views were not unique. He had previously traveled to France, where he met with names such as de Goncourt, Flaubert, and Huysman, who showed him the depth of suffering as beauty. After Wilde settled in London in the 80s, he began to showcase his aestheticism, sporting garb such as plum-colored velveteen knickerbockers with perhaps a soft loose shirt and a wide turned-down collar (Ericksen 21). Wilde advocated art as having intrinsic, immeasurable value. Unlike the Victorian stance, art did not have to feature a moral code, teach a lesson, or exist as a monument to an ideal supporting morals. Art is art, and exists only to exist for itself. For example, paintings of the Last Supper, though beautiful, existed to be a testament to Jesus or Christianity. Wildes Aestheticism would interpret the Last Supper to exist solely for the purpose of being a beautiful painting. The colors, shapes, and figures would be the central focus as they would represent beauty; the connotation behind twelve disciples sitting around a solitary figure would be dismissible. Wildes sexuality ties indirectly to the concept of art; one of the reasons Wilde advocated the aforementioned moral system was his relation of the system to antiquity. Homosexual union was not a defiled perversion; Wilde argued that it was a sign of progress, like aestheticism. Aestheticism and homosexuality would be placed in the same context as other time periods such as Hellenistic Greece, Classical Italy (Michelangelo), and Shakespearean England. The aforementioned periods involve the perfection of the male form; Wilde believed himself to be in line with the traditions of old because of his Oxford rearing. Hellenistic aesthetic coincided with Wildes sexuality and his aesthetic movement in the shared view that the male form was the most beautiful.Homosexual relationships were therefore considered an act of beauty, the most revered form of affection possible. Wildes The Decay of Lying is a multi-page testament to his belief in arts greater purpose as having no such purpose. Essentially an extended metaphor for the ill consequences of turning art into a mathematical measure, The Decay of Lying describes lying and poetry as arts (Wilde 1997, 7). The metaphor continues, equating art with an exaggeration of reality. True art, Wilde argues through the protagonists Cyril and Vivian, is so abstract that the real becomes unreadable (Wilde 1997, 13). The nature of art and beauty is so abstract that nature and life are meant to imitate it. The dangers of regarding art as a moral calculus are detailed in The Picture of Dorian Gray. The strange stasis in which Dorian findshimself—the state where his self-portrait shows his aging and the negative effects of his actions—is a wonderful example of Wildesaesthetics in motion. The story unfolds as Dorian is sitting in front of Basil; Basil is seen pondering the sheer physical beauty of the scene in front of him. The true aesthetic, Basil seeks out the beautiful solely because it is beautiful. He becomes enamored with Dorian only because of his beauty. On the other hand, Lord Henry findsDorian irresistible because of the potential socialite he sees in a mind that has yet to be molded. Basil the aesthete warns Lord Henry, imploring him not to make a cynic out of something beautiful; in this case, Basil is ultimately requesting Lord Henry to take caution in his approach to Dorian. Basil wants to preserve Dorian the way he is because he finds him beautiful, where Lor d Henry wants access toDorians private time so he can mold something new and different.Dorian becomes a work of art, manipulated by Lord Henry, killing Basil, the aesthete. Later in the novel, Lord Henry gives Dorian a yellow book, one with no title that is presumably about art and philosophy (Ericksen 115).Dorian becomes obsessed, using it as a Bible with which he leads his whole life. In the end, Dorian dies, having gone mad. This is an unequivocal warning from Wilde to those who would pervert the course of art (Victorians). Wilde shows the reader what happens when art is taken out of context and into a completely inappropriate light. Moreover, its hows how damaging the Victorian approach is; Dorian is unable to change his ways. Shortly after his inhuman treatment of Sibyl, he attempts to reform, only to find the painting smirking back at him.This is a reflection of the unyielding nature of Victorian society; itis a reflection of Wildes suffocation and inability to move freely, creatively, or inspirationally in the context of British society at the close of the 19th century. Just like Dorian, Wilde cannot express himself freely; though he had a chance in the beginning of the novel, Dorian did not follow the poor artist Basil. He instead opted to conform to the higher-ranking Lord Henry, whose coterie led Dorian to his death. Once in the clutches of Lord Henry, Dorian was fully supplicated to the mercy of his manipulator. Lord Henry almost immediately changes in his affections for Dorian, the extreme differences being Dorians perception as an Adonis in the beginning and as an unrecognizable, withered, man who is unidentifiable until they check his rings. Wildes third play, An Ideal Husband makes use of the witty banter known as epigrams to reveal the darker side of Victorian values in atongue-and-cheek fashion. The whole play is an epigram of sorts, exemplifying the imperfections of the Victorian bourgeois by mockingly portraying the inefficacy of their incorporation into Wildes ideal society. The traditional Victorian values Wilde mocks in An Ideal Husband are devotion, forgiveness, sacrifice, loyalty, moral integrity, and a composed disposition, all traits that Wilde subverts in his character portrayals. Though Sir Robert, the ideal husband, finds himself at the disadvantageous end of blackmail, his past does not warrant Wilde to present him as vile or duplicitous, as Lord Goringpostulates to Lady Chiltern that every man of every nature [has]elements of weakness (Wilde 2004, 27). The play, however, becomescentered around a conflict caused by [Lady Chilterns] unyielding moral rigidity (Ericksen 142). Sir Robert faces a moral dilemma in his coping with Mrs. Cheveleys blackmail. Wilde makes a useful point in the Sir Roberts circumstances; on one hand, Sir Robert is faced with making public his dark and relatively shameful past, there ineffectively nullifying Mrs. Cheveleys threats. On the other, he must deal with a Puritanical wife who cannot forgive anyone who has done a wicked or shameful deed, including Sir Roberts possible complicity(Ericksen 141). Would an ideal husband accede to the blackmail, there indenying his wifes request to challenge Mrs. Cheveley? In either event, Sir Roberts relationship is put in jeopardy. He can either lie to his wife, giving in to Mrs. Cheveley and compromising his marriage, or he can make his past public domain, marring the perfect public image his wife so treasures. Ironically, the couples social coterie perceivesSir Robert as the ideal mate, a man who, until his blackmail, was known for his impeccable reputation. Even his private life with Lady Chiltern was blissfully free of blemishes. Sir Roberts reputation and relationship with his wife, however, could have been saved by a simple lie. Had he never revealed the truth to his wife and given in to Mrs.Cheveley, giving in to her will, Lady Chiltern wouldnt have been one to know the better. An ideal husband in this case would therefore lie;for Wilde, the Victorian moral impetus lies not with adhering to the traditional values, but rather in maintaining the facade of keeping values in general. Ironically, Lady Chiltern learns of her husbands past all the same, [castigating] him and [rejecting] his please for forgiveness (Ericksen 141). No amount of marital maneuvering can spareSir Robert. In the end, it is Lord Goring who confronts Mrs. Cheveleyabout Sir Roberts blackmail; he is the only empowered character as he speaks and acts under no false pretenses. While he is far from perfect, chastised by his father for dancing until four oclock in the morning, Lord Goring is Wildes idealist—he is an art love r, whose witty repartee is surpassed only by his willingness to fight Mrs.Cheveley. One of Wildes most effective comic devices is his employment of epigrams, and more comical still is his utilization of Vicomte deNanjacs malapropisms. The French Attachà © in London, Nanjac representsWildes interpretation of those not fortunate enough to be born elite; Nanjac is easily recognized by his adoration of society and hisAnglomania (Wilde 2004, 4). His malapropisms are a reflection of the sad attempts of many to engage in epigramic banter, the object of LordGorings successful use of epigram. A ridiculing character, WildesNanjac is one whose blind aspiration to join a society hampers his vision and taste, therein earning him the scorn of the more capableLord Goring. Wildes assault on the Victorian bourgeois is personified best by the duality of his characters. Sir Robert, for example, presents a public mask of absolute personal integrity but has actually built his fortune and career upon a deception (Ericksen 144). An almost hero, Sir Robert is a manifestation of Wildes implications regarding a relatively innocent mans subjugation under society. Lord Arnheim, Sir Roberts former co-conspirator, first seduces Sir Robert with his doctrine of wealth, elucidating his view that controlling others is lifes greatest attribute (Ericksen 142). Mrs. Cheveley displays this best asLord Arnheims theoretical protà ©gà ©e; the two are almost Machiavellian in their manipulation (Ericksen 145). Where Lord Arnheim seduced SirRobert by playing to the discrepancy between his noble birth and modest financial holdings, Mrs. Cheveley is absolutely ruthless in her willingness to wreak havoc on all aspects of Sir Roberts married life in order to secure her investments. In his surrender to the wills of the two manipulators, Sir Robert becomes an ideal human, one whose proclivity to err alienates him from society. By succumbing to the two prominent materialists, Sir Robert embodies Wildes disdain for the financial drive of Victorian social coteries; contrary to the art-collecting Sir Robert, the female villain has no pleasures outside control and exploitation. Wilde addresses the lack of humanity in Victorian society, personified by the promulgation of perfection among the social elite. In the first Act, Mrs. Marchmont and Lady Basildon discuss their unfortunate marital situation. Lord Goring notes they are married to the most admirable husbands in London, to which Mrs. Marchmont responds that their husbands perfection is exactly what [they cant stand]; there is not the smallest element of excitement in knowing [them] (Wilde 2004,10). In this sense, the true Sir Robert, the one susceptible to suggestion and whose past compromises his future, becomes the ideal husband. Wilde suggests all Victorians wear masks, alternate identities that shield them from being human and enjoying existence. The ideal marriage is manifested best by the speculative union of Mabel Chiltern and Lord Goring, who at the plays close reject the common Victorian roles and morals previously discussed. Wildes Victorian surroundings were instrumental in his development of aesthetics, but were unfortunately not tolerant of his private life. A controversial figure, Wilde was homosexual, and had an ongoing affair with a younger nobleman by the name of Lord Alfred Douglas. Lord Douglas father, enraged at his sons homosexual relationship with Wilde, accused Wilde of being a sodomite, a grave offense in Great Britain at the time. Though acquitted in his first of two trials, Wilde was later sentenced to serve two years hard labor on the aforementioned charges. First imprisoned in Londons Wandsworth prison, Wilde was denied pen and paper until his transfer to Reading Gaol, where he eventually wrote De Profundis. While Wilde revealed his fascination with the figure of Christ [throughout] his literary career, only in De Profundis did he actually make [Christ] a part of his aesthetic system (Ericksen 156). A dramatic monologue on spirituality and society, De Profundis features several metaphor s likening Wilde toChrist. Wilde felt his unjust imprisonment made him a martyr; upon initial circulation of rumors regarding his sexuality, Wilde could have left London for France, therein spared persecution. Unlike Hamlet, who became a spectator to his own tragedy, Wilde the Christ-figure actively sought out what he perceived as his end (Wilde 2003, 28).Where Christ accepted his fate for the benefit of mankind, Wilde was a self-convinced saint and martyr for art and what he perceived to be the threatened aesthetic movement. Having passed through every mode of suffering, Wilde was convinced that his redemption would be realized through his incarceration and subsequent release, upon which his newfound humility would help him rise again (Wilde 2003, 4). Just as mankind would redeem itself through the trial and crucifixion of Jesus, Wilde felt society would be redeemed through his incarceration. He continued, developing his incarceration to salvation, likening greatness to requisite s orrow. Wilde admired Jesus for having realized his calling as being completed, reaching fulfillment upon its end(Wilde 2003, 19). Marveling at his situation, Wilde mused on the incredulity of a young Galilean peasant imagining that he could bear on his shoulders the weight of the world, including all the worlds past sins as well as what had yet to be done and suffered (Wilde2003, 13). Jesus death and resurrection was that toward which Wildeaspired, conceding that imprisonment was most likely an act of retribution for the fanciful and carefree life he led previously.Incarceration, then, was Wildes means of atoning for the errant life he might possibly have led upon his release. He hoped his relationship with Lord Douglas would be forgiven, and longed for societys acceptance. Wilde could claim on [his] side that if [he realized] what[he had] suffered, society should realize what it [had] in turn inflicted; with a mutual cognizance shared between Wilde and society, he hoped there would be no bitterness or hate on either side (Wilde2003, 7). Just as Jesus attempted to win over his captors and aggressors through his death and resurrection, Wilde hoped to pacify societys enmity by paying his social dues in prison. Wilde even likened the course of his lifes events to those leading up to Jesusmartyrdom. For example, Jesus was given direction by God the Father and condemned by Man. Wilde, in turn, ascribes the two great turning points in [his] life as when his father sent [him] to Oxford, and when society sent [him] to jail (Wilde 2003, 6). Wildes foreknowledge of an impending criminal proceeding did not dissuade him, just as the disciples could not sway Jesus acceptance and willingness to die on the cross. Neither Wilde nor Jesus could ignore their calling, no matter the grisly end. As a sinner, Wilde conceded that he had to accept the fact that martyrs were equally persecuted for the good as well as for the evil committed (Wilde 2003, 7). However similar to Jesus Wilde would assert himself to be, there weredefinite discrepancies in De Profundis that could testify to Wilde asan admirer of Jesus rather than his attempted emulator. Wildepostulated that Jesus saw Man in the same fashion as the aestheticmovement saw art; Man existed simply to exist. Wilde wrote that Christ regarded sin and suffering as being [beautiful] in and of themselves, that such a notion was the dangerous idea that led Christ to his demise (Ericksen 157). Just like Christ, Wildes own dangerous idea that ran against the Victorian grain was what led to his downfall.Wilde also saw his imprisonment as a period of transition. Hisindictment of the Greek gods as deities emulating humans indicatedhislife prior to imprisonment; Wilde labeled the Olympian gods as ableto reach greater heights (Wilde 2003, 17). Each Olympian representeddifferent aspects of humani

Labouring the Walmart Way Essay

1 Always low prices. Always. This is the slogan of the world’s largest corporation, a U.S.-based retailer whose big-box stores offer a one-stop shop, from groceries to garments to garden hoses. The secret of Walmart’s success is to give consumers the lowest prices-14 percent lower than its competitors (Greenhouse, 2003)-by increasing the efficiency of the supply chain, the productivity of the labour force, and the use of labour saving technology. Competitors must adopt a similar business plan, offer something Walmart does not, or go out of business-as Woolco, Eaton’s, Simp sons, and Woodwards have in Canada (Moore & Pareek, 2004). The influence of the Walmart model is not likely to wane in the near future. With over 235 stores in Canada and plans for rapid expansion, Walmart and its effects on labour are worth considering. Are its offers of jobs, its attitude toward unionization, and its influence on industry labour practices worth the low price on the shelf? 2 One of the most frequent complaints about Walmart, which employs 1.4 million people worldwide, is its failure to pay workers a living wage. Store employees are paid 20-30 percent less than the industry average, making many of them eligible for social assistance. It is estimated that American taxpayers fork out $2.5 billion a year in welfare payments to Walmart employees (Head, 2004). Because the retailer hires hard-to-place workers, like recent immigrants, seniors, and single mothers, its employees are often afraid they will not find work elsewhere. The kind of work Walmart does offer is gruelling: stores are intentionally understaffed-the strategy behind the company’s legendary productivity gains-so that existing employees will work harder (Head, 2004). It is alleged that systemic discrimination against women within the corporation has denied the majority of Walmart workers the chance at promotion, a charge that is now the subject of the largest civil-rights suit in U.S. hi story.

Four Types of Organisational Structure Essay

Organising is therefore the method by which an organisation is formally controlled into divisions or operational units and the structure of the firm is established. The end product of management process is organisational structure. Organisational structure binds the all level of management personals together and brings them into proper development and co-ordination of organisation. It is tasks arrangement which is break up into a few divisions or departments and grouping it together under the management hierarchy to achieve the organisation objectives. Under the organisation structure, one single path will create to attach the tasks, work flow and communication channels between the personals and the various divisional peoples of organisation. Organisation structures smooth the progress of efficient management, direction and control. Every administration has to set up its own organisation structure for well-organized perform of business actions. An organisation structure usually represent in graphical form which is called an organisation chart. Usually, the chart illustrated in the form of vertical, horizontal or concentric to define the authority and responsibilities of personals in various levels. The chart always created according to the existing departmentalisation of organisation. In departmentalisation, each personal from different job segments will work to achieve an aim of pre-determined organisational objectives. The departmentalisation is based on five structures, which is functions, products, consumers, geographical and matrix. In these papers, we will go through the justification of four structure which is function, product, geographical and matrix with sample organisational chart on each structure. Â  Sample Organisation Chart of Functional Structure. Source: SIA Cargo Pte Ltd Functional organisation structure is the most common and logical type of business unit that adhere by companies. In this structure, people are group together based on common skills and work activities. It focuses on single service and doesn’t need frequent changes in organisational hierarchy. Base on above organisational chart, we can notify that the total organisation system is coordinating by top management. For a proficient management function, the organisation breaks up into a few departments such as marketing, engineering, technology, operational and etc. Each departments lead by a senior manager or vice president who are reporting to a single authority, top management. As the simplest approach, a functional structure sort well-defined channels of communication and influence relationship. Each department’s staff needs to report to their only functional unit’s manager and by doing this, the various business unit’s prevent any kind of misunderstanding or conflicts among them. The chart hierarchy is simplified, well-organised and the separation of tasks also well defined with layer by layer. The fewer layer of management will ease the expectation of top management and also improve the task co-ordination. Decision making process is swift and authorities in functional structure. Because of the staffs in functional structure come from similar background and perspectives, so it wills faster the process of the decision-making without waste of time. Since the every business units in structure workout in similar background, it might cluster the processing of the papers together and highly improving the knowledge sharing between co-workers. Sharing knowledge make the organisation more productive and competitive where the experience personals such as managers often coaching and mentoring the less experience personals of each units through seminar or workshop. Functional structures produce clear career hierarchy organisation members to go after. Managers within a functional structure are generally skilled within their particular unit. They were hiring to lead the units due to their tremendous performance. These managers have a better-quality skill level that facilitate make their profession easier and makes them better capable of to monitor the individual act of their team members to allocate credit, rewards and penalty accordingly. A functional structure may draw some setbacks to organisation. It controls people and assets and build up core competences. As a company develop and becomes more difficult, each function tries to retain the company’s situation. Increased order may strain manufacturing to manufacture products quick enough or in sufficient capacity may lead to control problems. When control problems arise, it also strains the situation in evaluating the cost and contribution of each function. Other drawback is communication problem. Poor communication occurs within the organisation due to subunit orientation. The top management find it hard when balancing the process of decision making between centralise function and regional managers. The top managers might disrupted by solving a daily problems and may loss focus on long term strategic issues, resulting in long term strategic direction. Â  Sample Organisation Chart of Geographical Structure. Source: SIA Cargo Pte Ltd Geographical organisation structure is usually used by big firms whose operations are spread out over a large geographical area, for instance, multinational companies which market their service worldwide. Hotel, retail, food and transportation are among the industries which is widely using the geographical structure in their management. The whole organisation will lead by a president and one person will be responsible for an each particular region. According to above SIA Cargo chart, business units were set up at six different geographic locations and each regional branch head by Regional Vice President. The branch Vice Presidents will report to Senior Vice President. The expansion of business units can be local, national or international. In geographical structure, the organisation stick on company strategies and values although operates individually. It operates as its own unit based on where it located. In this structure, each personnel from various departments have prospect to work together. Working as a group will form a strong teamwork effort and keep them in the process of planning and decision making. Beside this, everyone in the departments will have an ability to recognize the personalities and values of each individual. Close working proximity lead to decentralise the process of decision-making and make organisation to settle in rapid changes in divisional goals. In each region, a local or personnel who familiar with local business environment and culture will be employ to head the business units. It ensures that the company well understand the customer expectation and needs. Base on local knowledge, the departments heads able to create a high coordination and effective process of decision making across the functional units. The regional heads ensures the company strategies adaptable to local culture and suit to fast change in unstable environment. In divisional structure, usually the departments act as a group. It allows the responsible personnel to put on better focus in their resources and results. It also makes the performance easier to monitor the customer service quality. A personal that understand and speak the local language, will satisfy the customer expectation because the contact points are clearly explain. Customer service personnel will also have better access to personnel from other units, which can allocate them to handle the customer matters much more efficiently. With geographical structure, following the routine of individual markets and task groups is cut down, as metrics such as revenues, profit margins, costs, and routine enhancement can be attached to particular regions. It is a most important strategic advantage of this structure. Many problems might incur for the companies whom use geographical based structure. Some companies may find it complicated to run a geographic organizational structure because it duplication of works and disagreement to centralized decision-making. The top management must rely on other regional heads to take counteractive actions and look up operations rather than giving a command from the company’s main office or headquarters. It may lead the company top management loss the authority in controlling the divisional units. Another limitation is expansion of knowledge. Usually, the structure does not maintain the knowledge sharing between people working in the same line of work because part of them is working in one division and the others are working in other divisions. Sample Organisation Chart of Product Structure. Source: Arla Foods Ingredients Above chart is an Arla Food Ingredients organisation chart. The chart is a product based organisation structure. Product-based structure means the regrouping of a functional structure and uses to organise employees and work on the basis of different type of products. This type structure brings together all those involved in the production skills, technical skills and marketing skills of a particular product or set of related products. Each division in structure has its own internal departments and function as self business unit. Companies that manufacture a wide variety of products such as cars and foods would find this type of structure appropriate to their organisation. Many companies tend to shift to product based structure as they expand, and as new products range are developed and new markets entered. Product based companies have no direct contact with their customers. Initially, they need to assess the market segments and develop the product from their assessment. Follow that, they must determine the price of products in line with the customer’s expectation and produce the products to sell in the market. Product based structure is also have a similar function as geographical structure. In Arla Food Ingredients, both product structure and geographical structure group together in the organisation. It will add much better clear focus on market segments and help to meets the customer’s expectation. Each division of products will be operates base on individual performance. It keeps up the positive competition between the divisions and allows the directors or managers to have better be in command of each division can act as separate profit centre. In this structure, division members are more likely to be persistent on products. It deals with the technological transform by grouping personnel with skill and their specialised equipment in one business unit. So, the division heads have a lot of control over operations and will not necessary to depend on another, separate area to get things done. The department managers will keep an eye on design and manufacturing activities, and employees become reliable to product not to function. It also allows the managers and employees to improve and expand their skills and knowledge in the organisation. The customisation of more products into division will lead to save time and cost. Decentralisation of process of decision making will facilitate rapid decision making results with effectively. It will reduce the risk of product failure and also bring on improvement in employee morale due to divisional decision making. Instead of better operational controls, the organisation can avoid the poor communication within the personnel’s which is bring to slow development of products. By the way, there is some limitation might happen when use the product base structure. An example, each product division has R;D department. When product expansion incur, number of personnel in R;D will increase. This increment will happen to each product divisions. So, it will lead to duplication of works and increase the costs of staffs. Since the divisions separately monitor, the difficulty might happen to top management to coordinating them together.

The Auditory Learning Style - A Resource List