A midlife crisis and how biology, psychology, and sociology interact to create the phenomenon.

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Picture someone standing in the middle of a bridge. First, they look back at where they have been and what they have done along the way to that point; then they look forward, seeing what little space they have left to travel and considering the extent they will be able to make the journey meaningful. If the bridge represents life, the person stuck in the middle, in a period of uncertainty and evaluation, is someone in a midlife crisis.

The phenomenon is often portrayed in popular media: a middle-aged man buys a sports car, has an extramarital affair, and begins socializing with the younger generation. But what exactly is a “midlife crisis,” and why does it occur? While some researchers question the term, stating that such crises are not necessarily limited to midlife, it is believed to be experienced by a sizable segment of the population. However, the crisis may look different from person to person.

For this Discussion, you describe a midlife crisis and how biology, psychology, and sociology interact to create the phenomenon. You also envision yourself as a social worker addressing this phenomenon with a client.

Post a description of the characteristics/features of a midlife crisis, including the different experiences in terms of gender. Explain how biology intersects with psychology and social factors in this phenomenon, and provide an example. Then, explain how you as a social worker could help a person navigate a midlife crisis.

Sample Solution

A midlife crisis and how biology, psychology, and social interact to create the phenomenon

People who are having a midlife crisis are thought to be struggling with their own mortality and, somewhere during midlife, they ditch some of their responsibilities in favor of fun. That is why the term “midlife crisis” often causes people to picture mistresses and sports care. It is thought that aging leads to feelings of depression, remorse, and anxiety. And a midlife crisis is a phase that helps people feel youthful again as they struggle to come to terms with the fact that their lives are half over. It is a period of transition in life where someone struggles with their identity and self-confidence. It happens anywhere from 40 years old to 60 years old and affects men and women.

 

 

Picasso’s Painting Les Demoiselles d’Avignon

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picasso les demoiselles d avignonWe can just envision the effect that this life-size artwork had on watchers 100 years prior. “Les Demoiselles d’Avignon” displays an audacious dismissal for the made-up rules of craftsmanship. In spite of the fact that the artwork was not indicated freely until 1916, Georges Braque saw the canvas in 1907 in Pablo Picasso’s studio before the paint dried. What’s more, what Braque saw changed the hereditary code of his knowledge until the end of time. I speculate that for some specialists today, “Les Demoiselles d’Avignon” has lost none of its pizzazz. Its conflict of powers and thoughts transmits a force that doesn’t blur.

Craftsmanship history specialists normally talk about the Demoiselles as far as substance: a massage parlor—five whores in a puzzling room that incorporates a table with still-life (natural product), vaporous textures (tablecloth, window ornaments, garments, backdrop), and perhaps a seat; as far as three significant impacts: Primitivism—communicated through plain sexuality, evenness, geometric structure, and references to Egyptian profile-workmanship (the lady at the left) and African ancestral veils (the two right figures); El Greco (extension/vertical twisting); and Cézanne (geometrization and shallow profundity of the pictorial field, just as echoes of Cézanne’s compositions of bathers in the course of action of nudes); regarding illustrative gadgets: the owl-like head swivel of the situated lady on the right (an early, exacting case of “synchronization”) and the profile-like leveling of the noses of the two ladies second and third from the left; or as far as the geometric proper numbers that involve the skeptical tasteful framework (triangles, wedges, precious stones, ovals, trapezoids, and mixes of these shapes), another sign of the long shadow cast over the entire canvas by Cézanne.

In any case, standard conversations once in a while test the more profound spatial capabilities of the composition. Analysts do concur on the rudiments: the 3-D picture space dwells in a domain of uncertainty, connoted partially by forceful dissecting and foregrounding of body parts, (for example, the left hand of the lady on the left, the left leg of the second lady from the left, and the leader of the situated lady on the right). Through these and different gadgets of visual clash, Picasso got back on track and plumbed an inalienably structural part of the work of art’s association: space. Because of Picasso’s quest for better approaches to sort out a stylish field and accommodate 3-D structure with the level picture surface, the Demoiselles viciously overturned the “laws” of straight point of view held consecrated since the Renaissance and tested the shows we partner with how to speak to ordinary space.

At last, as painter/essayist John Golding and others have commonly watched, the transaction of structure and space in the Demoiselles adds to a Cézanne-like round of assertion and forswearing opposite the dream of perspectival space versus the truth of the levelness of the artwork’s canvas. Collapsed surfaces (textures), collapsed structures (bodies and dividers), and collapsed spaces (inside/outside) show up with dumbfounding identicalness—wavering between oppositional values: crack and combination, projection and downturn, volume and plane.

“In Violin” and different arrangements by Picasso, Braque, or Juan Gris, the idea of “Les Demoiselles d’Avignon”— who speaks to what is named as critical space—works as a controlling standard. Furthermore, from painters to stone workers to designers, craftsmen today who tap this ageless rule become structure creators, yet in addition space producers. These specialists get familiar with the key to turning out to be plan creators.

This paper composed by Madison Gray and significant changes have been made. The full duplicate of this exposition is at: https://archive.org/subtleties/PicassoLessons

craftsmanship article, paper about fam

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