The history of wool is an integral part of the history of Britain as much of the wealth of Britain was founded on wool, and in fact, even today, the Lord Chancellor still sits on a seat stuffed with wool, known as the woolsack, when in Parliament.
Wool, more than any other commodity ever produced in these islands is a part of Britains's history and heritage, it was first woven into cloth here in the Bronze Age, circa 1900 B.C. although historically this is comparatively recent as elsewhere in the world primitive man had domesticated the sheep around 10,000 B.C.
Initially the sheep was used for meat and also for milk but it did not take man long to realize that the fleece was perfect for keeping him warm and then it was a small step from wearing the skin of a dead animal to discovering that you could have your cake and eat it by using the fleece removed annually from the live animal.
Methods were then developed to spin, weave and later to knit the wool into garments, carpets and many other useful and decorative articles.By the time of the Roman invasion in 55 B.C. Britain had developed a thriving wool industry which was appreciated and encouraged by the new rulers.I am sure they fully appreciated the warm cloth in their new chilly home! By the 8th century A.D. Britain had embarked on the export trade which was to make it so rich and well known around the world.
This continued unabated and after the Norman Conquest of 1066 the industry expanded further. By the twelfth century wool was becoming England's greatest national asset and cloth making was widespread, particularly in the large towns of southern and eastern England, those nearest the Continent. The export or raw wool, with its revenue of export duties, was a great source of income for Royalty and was therefore greatly encouraged with a peak in production during the 13th. century. However later in this century political strife led to a decline.
In the 14th.century a recovery began with the arrival of Flemish weavers who were encouraged to settle in Britain by Edward 3rd.This led to Britain's supremecy in the production of fabric as well as the export of raw wool. The first half of the 14th.century was a time of great prosperity for British wool farmers but unfortunately a long war with France and the Black Death put an end to the good times for a while.
However as the country, and Europe as a whole, recovered from these descimating times so naturally did the wool trade. Primarily with the export of raw wool but cloth from English looms quickly achieved an international reputation and from being primarily an exporter of the raw product England became, in the fourteenth and fifteenth centuries, a manufacturer and exporter of fine and well regarded cloth. At the end of the fifteenth century she was largely a nation of sheep farmers and cloth manufacturers. The next two centuries saw continued expansion of the industry despite variouss conflicts both at home and abroad.
The Later History of Wool.
With the arrival of the Huguenot weavers in the 16th. centuary England began to surpass Flanders in woollen manufacture which, by the end of the seventeenth century, comprised two-thirds of the value of her exports.
The Industrial Revolution, 1750-1850, brought radical changes as well as much unrest to the woolen industry. Until the mid 1700's cloth production was very much a "cottage industry" done on manual spinning wheels and looms.However this was to all changed with the invention of steam power and the indroduction of many machines for the mass production of cloth.Many years of unrest followed with workers banding together to riot and destroy much of this valuable machinary as they rightly saw that it threatend their livelihoods.The most famous of these was the Luddite Riots of 1812 but others took place throught that period in many parts of the land.
However progress prevailed, as it invariably does, and large factories with massive spinning and weaving machines soon became the norm and so the wealth of Britain continued to prosper thanks in part to the very lucrative wool trade.The traditional cloth areas of East Anglia declined, never to recover, whilst in Yorkshire the industry developed rapidly supported by abundant cheap coal as well as fast flowing rivers.
Other important manufacturing centres developed in Scotland, famed for its tweeds; and in the West Country which specialized in the production of high quality woven carpets.
Today wool is still valued for its wonderful properties of warmth, softness and versatility.The industry however is a very competative one world wide but Britain is still in the forefront as a producer of the raw material although many countries are now severly competing with her as producers of cloth and yarn.


We are going to build some robots and start programming in Robot C.
Log on to a machine with Robot C. Test that it is working by opening a sample program and uploading the code and running it.
Then read the movement PDFs - Moving Forward and Speed and Direction.
Work on solving the Labyrinth challange. You should look at PID control and syncing.
Include all the elements in the Lab Guidelines but instead of a schematic include a source code listing of the successful robot. Questions and conclusions will be posted here.


Mill Springs is in Wayne County.
The latitude of Mill Springs is 36.931N. The longitude is -84.779W.
Sections below provide additional information and links about Mill Springs travel and tourism, nearby airports, cemeteries, the Wayne County economy, education, environment, genealogy, government, historic sites, libraries, maps, museums, newspapers and other media, nonprofit groups, real estate, recreation, religion, transportation, and weather.
Wayne County supported George W. Bush in the 2004 presidential election. For more information, see our Mill Springs political report.


Frontline Original for cats is a topical 'spot-on' application for the treatment and prevention of flea infestation and biting lice on cats and kittens. It is also effective against all stages of the brown dog tick, the American dog tick, lone star tick and deer ticks (the major carrier of Lyme disease). Frontline Original has a rapid onset of action and kills re-infestations with newly acquired adult fleas for at least one month. Frontline Original also prevents the development of flea eggs, larvae and pupae produced by any adult fleas acquired for up to 6 weeks after treatment. Frontline Original treats and controls Flea Allergy Dermatitis in cats. It can be used on kittens from 8 weeks of age and is safe to use on breeding, pregnant or lactating animals. Frontline Original is waterfast from 24 hours after application.


To customize and refine the ACC display, you can add and delete tabs, add and delete widgets, set local and global filters, and interact with the widgets.
Add a tab. Select the icon along the list of tabs. Add a View Name. This name will be used as the name for the tab. You can add up to five tabs.
Edit a tab. Select the tab, and click the pencil icon next to the tab name, to edit the tab. For example .
Editing a tab allows you to add or delete or reset the widgets that are displayed in the tab. You can also change the widget layout in the tab.
See what widgets are included in a tab. Select the tab, and click on the pencil icon to edit it. Select the Add Widget drop-down and verify the widgets that have the check boxes selected.
Add a widget or a widget group. Add a new tab or edit a predefined tab. Select Add Widget, and then select the check box that corresponds to the widget you want to add. You can select up to a maximum of 12 widgets. (Optional) To create a 2-column layout, select Add Widget Group. You can drag and drop widgets into the 2-column display. As you drag the widget into the layout, a placeholder will display for you to drop the widget. You cannot name a widget group.
Delete a tab or a widget group/ widget. To delete a custom tab, select the tab and click the X icon.
You cannot delete a predefined tab. To delete a widget group/widget, edit the tab and in the workspace section, click the [X] icon on the right. You cannot undo a deletion.
Reset the default widgets in a tab. On a predefined tab, such as the Blocked Activity tab, you can delete one or more widgets. If you want to reset the layout to include the default set of widgets for the tab, edit the tab and click Reset View.
Zoom in on the details in an area, column, or line graph. Watch how the zoom-in capability works. Click and drag an area in the graph to zoom in. For example, when you zoom into a line graph, it triggers a re-query and the firewall fetches the data for the selected time period. It is not a mere magnification.
Use the table drop-down to find more information on an attribute. Hover over an attribute in a table to see the drop-down. Click into the drop-down to view the available options. Global Find — Use Global Find to Search the Firewall or Panorama Management Server for references to the attribute (username/IP address, object name, policy rule name, threat ID, or application name) anywhere in the candidate configuration. Value —Displays the details of the threat ID, or application name, or address object. Who Is —Performs a domain name (WHOIS) lookup for the IP address. The lookup queries databases that store the registered users or assignees of an Internet resource. Search HIP Report —Uses the username or IP address to find matches in a HIP Match report.
Set a widget filter. You can also click an attribute in the table (below the graph) to apply it as a widget filter. Select a widget and click the icon. Click the icon to add the filters you want to apply. Click Apply. These filters are persistent across reboots. The active widget filters are indicated next to the widget name.
Negate a widget filter Click the icon to display the Setup Local Filters dialog. Add a filter, and then click the negate icon.
Set a global filter from a table. Hover over an attribute in the table below the chart and click the arrow icon to the right of the attribute.
Set a global filter using the Global Filters pane. Watch global filters in action. Locate the Global Filters pane on the left side of the ACC.
Click the icon to view the list of filters you can apply.
Promote a widget filter to a global filter. On any table in a widget, click the link for an attribute. This sets the attribute as a widget filter. To promote the filter to be a global filter, select the arrow to the right of the filter.
Remove a filter. Click the icon to remove a filter. For global filters: It is located in the Global Filters pane. For widget filters: Click the icon to display the Setup Local Filters dialog, then select the filter, and click the icon.
Clear all filters. For global filters: Click the Clear All button under Global Filters. For widget filters: Select a widget and click the icon. Then click the Clear All button in the Setup Local Filters dialog.
See what filters are in use. For global filters: The number of global filters applied are displayed on the left pane under Global Filters. For widget filters: The number of widget filters applied on a widget are displayed next to the widget name. To view the filters, click the icon.
Reset the display on a widget. If you set a widget filter or drill into a graph, click the Home link to reset the display in the widget.


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Grand Cinema Tacoma
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Sold out! Overcoming Adversity Film Series movie, "The Upside", on Saturday, February 11, 2023
"The Upside" is sold out! Ticket registration for our third and final FREE movie in our Overcoming Adversity Film Series, "The Diving Bell and the Butterfly", will be available on Tuesday, February 14, 2023 at https://www.pierceadrc.org. Thank you for your patience!

redpajama_set_name: RedPajamaCommonCrawl


text:
Home › | Publications › | Persuasions On-Line › | Volume 36 No. 1 › | Aristotelian Ethical Ideas in the Novels of Jane Austen
By Amanda Marie Kubic
Amanda Kubic (email: kubic@live.unc.edu) is an undergraduate at the University of North Carolina at Chapel Hill, majoring in Comparative Literature and Classics and minoring in Social and Economic Justice. She is originally from Summerfield, NC. Amanda is a co-editor of UNC's feminist magazine, The Siren, and an avid Jane Austen reader.
Volume 36, No. 1 — Winter 2015
Morality, Virtues, Ethics › Literary Influences ›
Emma › Mansfield Park › Northanger Abbey › Persuasion › Pride and Prejudice › Sense and Sensibility ›
THERE IS NO EVIDENCE THAT Jane Austen ever read the works of Aristotle. Nevertheless, many of the ethical theories Austen puts forth in her novels are Aristotelian in nature. Some critics have argued that Austen's Aristotelian ethical ideas were derived from reading popular philosophical, didactic, and religious works of the seventeenth and eighteenth centuries. Some suggest that she may have been educated in the classics and thus directly exposed to Aristotle. Still others argue that Austen is simply a "natural" Aristotelian, and that "Aristotle's ethics can be read as an uncanny anticipation of hers" (Gallop 98).1
Yet, despite the uncertainty as to what extent Aristotle directly influenced Austen, and despite the fact that Austen and Aristotle wrote in completely different political, geographic, and social contexts, Austen's and Aristotle's ethics are undoubtedly similar in four main respects: both propose a multiplicity of virtues and have similar ideas as to what those virtues are; both suggest that there is a process to learning virtue and becoming moral; both maintain that virtue is a mean or intermediate between extremes; and both view ethical life as teleological in nature, with the practice of virtue aiming towards a higher good. These similarities, however, are not without qualification. Austen's ethical ideas are similar to Aristotle's in the aforementioned ways, but Aristotle's ethical ideas are much more masculine, secular, and related to the state and public life, whereas Austen's notions of virtue and morality are more Christian, traditionally feminine, and oriented around the private or domestic sphere of life. While previous authors have explored the question of transmission from Aristotle to Austen as well as some specific commonalities between the two authors' moral theories,2 a more comprehensive overview of the relationship between Austen's and Aristotle's ethics is needed. This essay attempts to define what seem to be the four major similarities between Aristotle and Austen's ethical theories as well as the key differences in their theories' scope and audience.
In order to compare the ethics of Austen and Aristotle, it is important first to understand how Austen may have been exposed to Aristotelian philosophical ideas. Ryle argues that Austen's Aristotelianism is a result of her being influenced by the writings of Sir Anthony Ashley-Cooper, third Earl of Shaftesbury. He claims that "Austen's specific moral ideas derived, directly or indirectly, knowingly or unknowingly, from Shaftesbury" (298), unique among eighteenth-century moralists for his "secular and aesthetic Aristotelianism" (299). While acknowledging that Austen may not have studied the writings of Shaftesbury himself, he notes that their shared aesthetic and vocabulary indicate that Austen may have been involved in the same "small, sophisticated circles in which 'Deist' was not a term of abuse and in which one could refer without explanation or apology to Locke and Descartes, Hobbes and Aristotle, Epicurus and Spinoza" (299).
Emsley, expanding upon Ryle's hypothesis, contends, "Austen may have absorbed her knowledge of Aristotelian thought by reading Aristotle himself, through the poetry of Dante, Chaucer, or Spenser, or through the works of Shaftesbury or Butler, but she certainly knew Shakespeare, Johnson, and Fielding" (20). Citing Mary DeForest's argument that Austen probably learned Greek, Latin, and possibly Italian from her father, a clergyman, Emsley states that Austen could have read Aristotle's Ethics and Dante's Divine Comedy either in the original languages or in translation (18). She also notes that "we do know [Austen] read Shakespeare, . . . and her ethical standpoint is strongly influenced by the reading of his work" (19). In addition, Emsley names Samuel Johnson, whom she claims "provides an account of the neglect of the classical and Christian virtues in 'The Vanity of Human Wishes' (1749)" (19), and Henry Fielding, whose novel Tom Jones (1749) includes "frequent references to Aristotle and Plato" (20), as probable sources of Aristotelian ethical thought for Austen. Both Johnson and Fielding "made the virtues . . . vivid in contemporary writing" (19) in a way that many writers of the day did not, and they seem to have influenced not only the structure and style but also the content and characterization of Austen's novels. It thus seems that a combination of classical and eighteenth-century secular texts could have contributed to Austen's understanding of Aristotle's ethics as well as to her own moral outlook.
Yet Austen's theory of morality is also undoubtedly influenced by Christianity and eighteenth-century religious thought. In her book Jane Austen's Anglicanism, Laura Mooneyham White explores the ways in which Austen's upbringing in the Georgian Anglican Church shaped her worldview and her writing. She notes that Austen was "a committed Anglican Christian" (9) and that her "experiences with the clergy, worship, liturgy, doctrine, sacraments, and sermons and other religious reading" influenced her fiction (8). Many of these religious writings espouse doctrines founded in Aristotelianism. For example, White mentions that Austen seems to incorporate into her writing the concept of the Great Chain of Being, which, as White points out, is "derived from a mix of Platonic and Aristotelian thought, admixed with a Christian conception of Godhead" (35). This doctrine, which "places all of creation in a hierarchy, from God and his angels through human beings in their multitudinous stations through animals, plants, and down to the minerals of the earth" (35), implicitly argues that God has "designed social hierarchies" (35) and has put all humans in their proper places. White notes that Austen's acceptance of the doctrine of the Great Chain of Being affected her "views of language, social hierarchy, nature, and history," and that this doctrine is at the foundation of all of her novels (76).
As White points out, Aristotle is also the first to set out the idea of natural law, or the notion that "everything in creation has a reason and purpose" (79). St. Thomas Aquinas later Christianizes this doctrine, and it is this revised version of natural law that Austen may have then absorbed through eighteenth-century theologians like Butler, Law, Gisbourne, and Hartley (80). Austen's worldview, including her rather Aristotelian view of ethics and morality, is largely shaped by eighteenth-century religious texts and doctrines. The nature of the transmission of Aristotelian ethics to Austen is key to fully appreciating and understanding the striking similarities in, as well as the differences between, the two authors' theories of morality.
Austen and Aristotle both assert that there is a multiplicity of virtues, not just one all-encompassing virtue. In Book One of his Nicomachean Ethics, Aristotle claims, "Virtue too is distinguished into kinds, . . . for we say that some of the virtues are intellectual and others moral, philosophic wisdom and understanding and practical wisdom being intellectual, liberality and temperance moral" (1:13). By asserting that virtue is distinguished into two main kinds, Aristotle implies that the virtues are multiple and that there is no single state of character that can alone be called virtue. Austen likewise adopts this idea of a plurality of virtues, and in her novels represents a range of virtues applicable to both men and women. These virtues or virtuous states of character echo the ones put forth by Aristotle in Book Two of the Ethics. Aristotle names courage, temperance, liberality, magnificence, proper pride, good-temper, truthfulness, ready wit, friendliness, and modesty as virtues (2:7) and claims that all of them are "intermediate" dispositions between two extremes (2:8). Austen similarly praises "the virtue of being socially agreeable," otherwise known as amiability or friendliness, as well as the virtues of practical intelligence, constancy, courage (MacIntyre 241-42), "a balanced temperature of feeling and emotions," or temperance (Ely 95), and "obedience to the law, honesty, respect for one's parents, loyalty to friends, and gratitude to benefactors" (Bloom 191). Tensions between "civility and honesty, charity and justice" pervade Austen's novels (Emsley 11), as do questions of proper pride, prudence, and modesty.
Pride and Prejudice particularly exemplifies Austen's use of these Aristotelian virtues. The entire novel centers on the question of what constitutes proper pride, and "almost every character exhibits too much or too little pride, pride of a bad or silly sort or pride of a good sort, sham pride or genuine pride" (Ryle 289). In one of his first interactions with Elizabeth Bennet, the initially proud and haughty Mr. Darcy observes that "'vanity is a weakness indeed. But pride—where there is a real superiority of mind, pride will be always under good regulation'" (63). The kind of pride Darcy has in mind is that which Aristotle would call an "intermediate," and falls somewhere between the extremes of vanity and shame or self-effacement. It is this kind of proper pride that both Darcy and Elizabeth must learn to achieve and that Austen, like Aristotle, names as one of the key virtues.
Moreover, in her interactions with Darcy and others, Elizabeth perfectly displays the kind of ready wit or quickness of intelligence that Aristotle identifies as a virtue. Elizabeth is frequently complimented on her "wit and vivacity" (98) and cleverly mocks the ridiculous and pokes fun at the follies of others. Yet, her wit does not exceed the bounds of virtue by becoming insensitive or vulgar: "'I hope I never ridicule what is wise or good. Follies and nonsense, whims and inconsistencies do divert me, I own, and I laugh at them whenever I can,'" Elizabeth declares (62-63). Pride and Prejudice is also concerned with the difficulty of trying to reconcile courtesy and truthfulness, as is apparent in the scene in which the pompous and ridiculous Mr. Collins proposes to Elizabeth, and she must "unite civility and truth in a few short sentences" in her rejection of his proposal and then later in bidding him farewell from her family's home (239).
There is a distinction, however, between the virtues put forth by Aristotle and those present in Austen's novels. While Aristotle "distinguishes two kinds of wisdom, a higher one (sophia) exercised in theoretical inquiry, and a subordinate one (phronesis) exercised in practical life" (Gallop 99), Austen is concerned primarily with what Aristotle calls practical or ordinary virtue. It is true that some of the heroines in Austen's novels, like Fanny Price and Elizabeth Bennet, learn to contemplate higher moral and spiritual realities and can thus be said to possess a degree of philosophical wisdom. Yet Austen's primary focus is on practical wisdom and intellect exercised in the social world, as is evident in her novels' emphasis on human relationships and interactions. In Emma, for example, Austen focuses on the different ways Emma interacts with people of lower social classes like Harriet and Miss Bates, with gentlemen of different characters and intentions like Mr. Knightley, Frank Churchill, and Mr. Elton, with rivals like Jane Fairfax, and with beloved family members and friends like Mr. Woodhouse and Mrs. Weston. Emma is presented with moral dilemmas and must contemplate difficult ethical questions but always in the context of her interactions with and feelings toward other individuals, not in the abstract. Even Elizabeth, who endeavors to define and understand concepts like pride and vanity, does so in order to better apply these concepts to her daily conversations and interactions with men like Mr. Darcy. Emma and Elizabeth are not isolated philosophers trying to formulate abstract ethical theories but people living in a world very much defined by social interaction. Their contemplation and practice of virtue therefore happens in the context of "practical life" rather than "theoretical inquiry."
Austen's virtues are, moreover, more Christian, feminine, and domestically oriented than Aristotle's. While critics such as Ryle (297) and Gallop (98) argue that both Austen and Aristotle's values are secular rather than religious, Austen's theory of the virtues is in reality very much influenced by Christianity. This influence is particularly evident in Mansfield Park—a work in which religious piety is a central virtue. Indeed, the heroine, Fanny Price, upholds and demonstrates Christian principles throughout the novel. For example, when she pays a visit to Sotherton chapel, Fanny declares, "'There is something in a chapel and chaplain so much in character with a great house, with one's ideas of what such a household should be! A whole family assembling regularly for the purpose of prayer, is fine!'" (101). Fanny not only speaks of but also practices Christian virtues. She offers "fervent prayers for [Edmund's] happiness" (307) after learning of his affection for Miss Crawford, and she takes great interest in Edmund and Mr. Crawford's conversation about well-delivered sermons (394). Fanny's comments and actions embody a kind of Christian ethic that subtly pervades all of Austen's novels. Indeed, even Catherine Morland anticipates saying her prayers with Isabella Thorpe "in the same chapel the next morning" (26). Emsley, too, argues that Austen writes from "a firm foundation of Christian faith" (4) and that in her writing she "reconciles Aristotelianism and Christianity" (10). She claims that in Austen's novels, the heroines consistently demonstrate their virtue through their "Aristotelian or Christian moral deliberations and judgment" (18) and can only come to discover happiness through wisdom, grace, faith, hope, and charity—all of which are ostensibly Christian virtues.
Austen's feminine identity and domestically oriented perspective, combined with her Christian ethic, make her theory of the virtues quite distinct from Aristotle's. Indeed, John Ely claims that Austen "not only reworks (in Christian form) a doctrine of the virtues and of happiness through practical 'activity' derived from Aristotle, but in the 'restricted households' of Austen's world, we find 'surrogates for the Greek city-state' insofar as she establishes a balance of virtues more appropriate to this more limited, more 'female' space" (93). In Austen's moral theory, certain virtues found in Aristotle's Ethics are likened or replaced with more feminine virtues. For example, Austen likens the Aristotelian ethical principle of habit to "the cultivation of feeling" (Ely 95). While for Aristotle it is important that a man be "brought up in good habits" so that he can "listen intelligently to lectures about what is noble and just, and generally, about the subjects of political science" (1:4), Austen is more concerned that her characters have habitual "practical and emotive concern in the lives of others" (Ely 95). Austen would agree with Aristotle that "moral virtue comes about as a result of habit" (2:1), yet her idea of habit is the constant practice of "active kindness" rather than good citizenship (Ely 95). Austen also replaces Aristotle's virtue of dignity with the more feminine virtue of "tenderness" (95). This kind of moral substitution is evident in the passage from Mansfield Park in which the patriarch of Mansfield, Sir Thomas Bertram, returns home after a long journey with a changed manner, where "all that had been awful in his dignity seemed lost in tenderness" (208). His cold propriety and formality give way to kindness and affection, and both Fanny and the reader are gladdened by the change.
Moreover, Austen's virtues appear not only to be more feminine than Aristotle's but more oriented around private life and domestic interaction. Though much recent criticism has challenged the idea of Austen's limitation, critics like Bloom assert that Austen's characters live in a limited world, where there are "no politics, no conspiracies, no high crimes, no wars," and only interact with a small group of friends and family situated in a sphere of "respectable country life" (192). If this analysis is valid, Austen's virtues are necessarily different from Aristotle's in that they are not meant to apply to great men in positions of public power, as is implied in the Ethics, but rather to husbands and wives, sons and daughters, friends and lovers, living ordinary, private lives.3
The second key similarity between Austen's and Aristotle's ethical ideas is that both recognize that becoming moral is a process and that the individual is not born virtuous but must constantly practice the virtues to perfect them. In the Ethics, Aristotle claims, "all who are not maimed as regards their potentiality for virtue may win it by a certain kind of study and care" (1:9). He writes, "Neither by nature, then, nor contrary to nature do the virtues arise in us; rather we are adapted by nature to receive them, and are made perfect by habit" (2:1), implying that becoming virtuous and attaining eudaimonia is a process of learning and practice. Austen echoes this idea in her novels, as all of her heroines must engage in a kind of moral practice and go through a process of learning in order to attain virtue. Emsley, too, notes the importance of this process in Austen's work, claiming that the heroines in Austen's novels first come to an awareness about the ethical life in "a moment of philosophical illumination," like Elizabeth's moment of enlightenment as she reads Mr. Darcy's letter, and thereafter engage in "a lifetime dedication to practicing careful judgment and considered moral action" (11). For both Austen and Aristotle virtue is thus a disposition that is gradually acquired and that must constantly be practiced in both thought and action.
In Pride and Prejudice a key scene between Elizabeth Bennet and Mr. Darcy illustrates this concept of ethical practice and process. After Elizabeth chastises Darcy for his anti-social behavior at the Meryton ball, Darcy replies, "'I certainly have not the talent which some people possess . . . of conversing easily with those I have never seen before. I cannot catch their tone of conversation, or appear interested in their concerns, as I often see done'" (197). Elizabeth, as she plays the piano, responds to his remark in a markedly Aristotelian fashion:
"My fingers . . . do not move over this instrument in the masterly manner which I see so many women's do. They have not the same force or rapidity, and do not produce the same expression. But then I have always supposed it to be my own fault—because I would not take the trouble of practising. It is not that I do not believe my fingers as capable as any other woman's of superior execution." (197)
In this instance, Darcy lacks the virtue of amiability, and Elizabeth's solution invokes Aristotle's discussion of study, habit, and practice as it pertains to the process of learning the virtues.
The Aristotelian concept of moral education and practice is also present in Emma, a novel primarily about the process of learning to respect and be charitable to others, despite social differences. At one point in the novel, several characters travel to Box Hill and gather together to enjoy each other's company. When Emma and Frank Churchill try to enliven the conversation by declaring that each member of the party must say either one very clever or three very dull things, Emma insensitively pokes fun at the well-meaning but garrulous Miss Bates when she responds enthusiastically to the suggestion.
"Oh! very well," exclaimed Miss Bates, "then I need not be uneasy. 'Three things very dull indeed.' That will just do for me, you know. I shall be sure to say three dull things as soon as ever I open my mouth, shan't I?—(looking round with the most good-humoured dependence on every body's assent)—Do not you all think I shall?"
Emma could not resist.
"Ah! ma'am, but there may be a difficulty. Pardon me—but you will be limited as to number—only three at once."
Miss Bates, deceived by the mock ceremony of her manner, did not immediately catch her meaning; but, when it burst on her, it could not anger, though a slight blush showed that it could pain her. (403)
Emma does not immediately realize that she has deeply embarrassed and insulted Miss Bates, who has been nothing but kind to her. Yet she is later educated and reprimanded by Mr. Knightley, who says to Emma, "'I cannot see you acting wrong, without a remonstrance. How could you be so unfeeling to Miss Bates? How could you be so insolent in your wit to a woman of her character, age, and situation?'" (407). He points out the ways in which Emma's conduct has been at fault so that she can understand how her action was wrong and thus be able to change her behavior in the future. The shame and grief Emma feels upon recognizing her cruelty to Miss Bates serves as an educational force, steering her towards embracing the virtues of friendliness and respect in future interactions. Emma acquires the virtues of respect and kind charity, as Aristotle states, "by learning or by habituation or some other sort of training" (1:9)—in this case through Mr. Knightley's chastisement and her own subsequent reflection.
This process of moral development in Austen's novels, apparent as various individuals succeed or fail in getting beyond "first impressions," reflects the Aristotelian concept of virtue as a process rather than as a final state to be achieved. Indeed, the fact that the original version of Pride and Prejudice, written around 1796, was entitled "First Impressions" (Bree 58) gives some clue to Austen's interest in the Aristotelian idea that morality is an ongoing exercise with many emotional and cognitive stages. One must look beyond initial judgments and actions and learn from them in order to make more virtuous decisions in the future. To do this, one must not only learn about others and the outside world but also examine one's self, one's own knowledge, and one's own prejudices. Such is the case in Pride and Prejudice, where, after Darcy reveals his feelings for Elizabeth and the bases for his judgments and actions, Elizabeth must learn to look beyond her initial preconceived notions of Darcy and rethink her judgment of him as a proud, cold, and arrogant man. By looking past her first impressions of Darcy, Elizabeth is able to eventually practice the kind of careful judgment that is part and parcel of virtue and see his character as it truly is. One can also see an illustration of this step-by-step process of Aristotelian morality in Sense and Sensibility, in which Marianne Dashwood must undergo a kind of education in love, passion, and moderation before she is able to fully appreciate and reciprocate affection for the man who truly loves her. She first experiences a period of wild ardor and affection for the young but irresponsible and untrustworthy John Willoughby, followed by a time of dejection, grief, and illness when he leaves her. After her illness, she begins to understand the value of restrained sensibility and increased sense, and by the end of the novel demonstrates that she has been educated and is ready to practice the virtue of moderation in both her judgments and affections.
Both Austen and Aristotle agree, moreover, that the moral educational process involves learning not just to practice the virtues but also to practice them in the right place, at the right time, and with the right people. In the Ethics Aristotle claims that one must exercise virtue "to the right person, to the right extent, at the right time, with the right motive, and in the right way" in order to truly be good (2:9). Similarly, Austen's characters must practice careful moral judgment and consideration in all of their social interactions and learn to choose the correct words and actions for each unique context and situation. For both Austen and Aristotle, virtuousness is thus an ongoing process in which one must constantly and prudently exercise one's judgment to find the ethical balance or mean in both public and private life.
To fully practice the virtues in the right place, at the right time, and with the right people, both Austen and Aristotle recognize the necessity of having some kind of financial means or stability. The moral educational process must be accompanied by a certain kind of wealth if one wishes to perfect the practice of virtue. As Aristotle writes in the Ethics:
[I]t is impossible, or not easy, to do noble acts without the proper equipment. In many actions we use friends and riches and political power as instruments; and there are some things the lack of which takes the lustre from happiness, as good birth, goodly children, beauty; for the man who is very ugly in appearance or ill-born or solitary and childless is not very likely to be happy. (1:8)
This same idea is exemplified in Austen's novels, where all of the characters who attain perfect virtue and happiness, such as Mr. Darcy and even Elizabeth Bennet and Fanny Price, are attractive, financially stable, and have the material conditions Aristotle deems necessary for the practice of virtue. While many of Austen's heroines, like Fanny and Elizabeth, are not as wealthy or well-connected as characters like Darcy, still they are all able to meet the basic necessities of food, shelter, and clothing, as well as afford some small luxuries like ribbons and books. The characters who achieve virtue in the Aristotelian sense do not live in poverty, and very often come from the class of landed gentry or at the very least from fairly prosperous merchant families.
Austen's ethics, however, differ from Aristotle's somewhat in that she also seems to be concerned with a more Christian ideal of virtue, whereby "poverty, loneliness, and ugliness do not preclude virtuous behavior, and sometimes they even make it easier to reach purity of soul" (Emsley 26). For example, in Persuasion Anne Elliot's friend Mrs. Smith sinks into poverty after the death of her husband and yet is still held up as a paragon of Christian hope and perseverance despite her material suffering. Since Aristotle claims that "happiness seems to need . . . material prosperity," like "friends and riches and political power," in order to be genuine (1:8), Mrs. Smith may not possess true happiness in the Aristotelian sense because of her poverty; yet in Austen's world she is still able to practice and achieve virtue and is indeed more virtuous than many of the wealthy characters in the novel.
The third chief similarity between Austen's and Aristotle's ethics is that both view virtue as a mean or intermediate between two extremes and understand that, while there is a plurality of extremes, there is only one true, good center. Aristotle explains the concept of the "mean" in the Ethics, when he writes that virtue "must have the quality of aiming at the intermediate" and that therefore "virtue is a kind of mean, since, as we have seen, it aims at what is intermediate," and this mean lies between the many vices (2:6). Courage is thus the mean between fear and rashness, temperance the mean between pleasures and pains, liberality the mean between prodigality and meanness, and so on (2:7). Aristotle also uses the different feelings involved in the practice of the virtues in order to distinguish among them and holds to the idea that "the emotions are neither to be vented nor repressed in all situations. Rather, they are to be felt and evinced according to 'right reason' or 'rational principle' (orthos logos), used by the person of practical wisdom to determine the mean" (Gallop 101).
Austen echoes this idea in the way she conceives virtue in her novels. Her heroines all either possess or must learn to possess a moderate, balanced kind of sensibility and are always contrasted with characters who act or feel in excess. Ryle explains that the titles of some of Austen's works are quite telling of her preoccupation with finding a balance between excess and defect in feelings or actions by exploring the tensions among competing virtues—that Sense and Sensibility is "about the relations between Sense and Sensibility, . . . between Head and Heart, Thought and Feeling, Judgment and Emotion, or Sensibleness and Sensitiveness"; that Pride and Prejudice explores baseless pride versus excessive pride, versus deficient pride, and so on; and that Persuasion has to do with "persuadability, unpersuadability and over-persuadability" (287). Further, Ryle finds a preoccupation with the mean even in Austen's novels with titles less telling, arguing that Emma primarily centers around "proper and improper solicitude and unsolicitude" regarding the affairs of others (290), while Mansfield Park examines "lovingness or unlovingness" within one's own family (292).4 The very title of Emma, moreover, suggests balance, as the name is almost a palindrome. Though it is only slightly asymmetrical, beginning with E and ending with A, perhaps this near but somewhat imperfect balance reflects Emma's initially unbalanced character.5 Indeed, throughout Austen's novels, the heroines struggle to find the true ethical center and even fail at times by acting in the extreme or submitting to various excessive temptations or vices. Yet, like Emma, who learns to practice the proper amount of solicitude, and Elizabeth Bennet, who learns to moderate her pride, they all eventually come to find the virtuous mean in their thoughts and actions.
In Persuasion the passage in which Anne Elliot reflects on the opinions and character of Captain Wentworth serves as a fine example of Aristotle's doctrine of the mean. After Anne's companion Louisa Musgrove jumps from a wall and suffers injury caused by her stubbornness and refusal to follow the advice of others, Anne wonders
whether it ever occurred to [Wentworth] now, to question the justness of his own previous opinion as to the universal felicity and advantage of firmness of character; and whether it might strike him, that, like all other qualities of the mind, it should have its proportions and limits. She thought it could scarcely escape him to feel, that a persuadable temper might sometimes be as much in favour of happiness, as a very resolute character. (126).
Anne's thoughts are certainly Aristotelian in nature, with the concept of "proportions and limits" relating back to the principle of the mean. As this quotation and the preceding scenario demonstrate, Austen believes that an excess of resolution can lead to recklessness, while too little can lead to what Ryle calls "over-persuadability" (287). The virtuous mean thus lies somewhere in between these two extremes of excess and deficiency.
The fourth major parallel between Austen's and Aristotle's ethics is that both adopt a teleological perspective, where the practice of virtue aims at the achievement of some kind of telos or higher good. In the Ethics Aristotle claims, "there is some end of the things we do, which we desire for its own sake. . . . [C]learly this must be the good and the chief good" (1:2). He then goes on to argue that this chief good must be something "final" that is "always desirable in itself and never for the sake of something else" and concludes that eudaimonia, otherwise defined as human flourishing,6 is such a thing (1:7). For Aristotle, living in accordance with virtue and practicing the virtues is one way to achieve eudaimonia. Yet the virtue he primarily focuses on in his discussion of eudaimonia is that of reason. Indeed, James Lesher notes that for Aristotle, eudaimonia can be precisely described as "an activity of the soul in accordance with reason" (105). Lesher notes that, since for Aristotle "the excellence of a thing is thought to reside in its έργον," that is, its work, job, or characteristic activity, one can conclude that "the supreme human good resides in the exercise of reason in accordance with excellence, or if there are several excellences of reason, then with the highest and most complete of these" (105).
Austen's ethical perspective is similar to Aristotle's in that she sees and writes about the telos of human life as it is expressed in its everyday form. Austen is thus unique among her literary and philosophical contemporaries, for she "turns away from the competing catalogues of the virtues of the eighteenth century and restores a teleological perspective" (MacIntyre 240). Her heroines pursue and practice virtue not for its utility or because it is its own reward but rather for the sake of attaining a kind of higher good, happiness, or fullness in life. Yet Austen, unlike Aristotle, does not equate this final, higher good or happiness with the excellent exercise of reason. Considering that the lives of Austen's characters are much more limited than the lives of the men in Aristotle's audience, and taking into account that Austen and Aristotle wrote in completely different geographical, social, and political contexts, it makes sense to think that Austen and Aristotle may have varying ideas as to what constitutes "happiness" and "the good life." For Austen the exercise of reason plays an important role in the cultivation of a virtuous character. In Northanger Abbey Catherine Morland must learn to use her reason and judgment and not merely rely on the words and opinions of others, in order to successfully navigate society. As Ruderman states, in Northanger Abbey Austen "suggests that the fullest practice of virtue is only available to those who have an ability and a willingness to think for themselves" (40). Catherine comes to realize that she cannot necessarily trust her companions John and Isabella Thorpe, the former having lied to her and forced her to break an engagement with Eleanor Tilney at Bath and the latter having betrayed her brother. She also learns not to project the overly romantic and horrific sentiments of the novels she reads onto real-life situations after Henry Tilney chastises her for imagining his father is a murderer. Instead, Catherine "begins to use her own wits" (Ruderman 40) and her own reason and in doing so becomes a more mature and virtuous heroine.
While the active exercise of reason thus seems important for Austen in fully achieving and maintaining a virtuous character, it does not appear to be the chief good or end of this teleological process. There is no indication in Austen's novels that the "supreme human good" for her heroines—the very thing that constitutes their happiness—is the exercise of reason. Elinor Dashwood practices reason throughout Sense and Sensibility, but not until she becomes engaged to Edward Ferrars and sees her sister settled with Colonel Brandon does she appear truly happy. Likewise, while Catherine Morland does become a more virtuous person for learning to use reason, she only achieves "perfect happiness" (261) when this education is combined with her marriage to Henry Tilney, his reconciliation with the General, and their return to Woodston.
There is a significant amount of debate over what exactly this end or "final good" of Austen's novels is. MacIntyre uses the centrality of marriage in Austen's works to argue that the telos for Austen's heroines is "a life within both a particular kind of marriage and a particular kind of household of which that marriage will be the focal point" (239) and that Austen's virtuous heroines "seek the good through seeking their own good in marriage" (240). His argument does have some credibility, since at the end of every Austen novel the heroine is either married or engaged to be married to a man who will presumably make her happy and help create a happy household. The notion of marriage as the telos for Austen's characters also reinforces the more feminine, domestic nature of Austen's ethics compared to Aristotle's, in which marriage seems to play no significant part in happiness. Yet, while in most of Austen's novels a good marriage or engagement could be viewed as a kind of reward the heroine receives for her education in and practice of the virtues, to Austen, marriage is not in itself the highest good, nor is it all that is necessary for "the good life." Indeed, Ely notes that "the good life" for Austen also involves having sufficient material means and independence, engaging in intellectual activity and the appreciation of natural beauty, practicing active kindness and amiability, and possessing a close network of friends (105).
Austen's heroines, especially those who, like Fanny Price, Anne Elliot, and Elizabeth Bennet, are already virtuous when their novels begin, do not depend solely on their prospective husbands for moral goodness and happiness; they find fulfillment in their own independent happiness as well as in their eventual marital happiness. Perhaps, then, the telos for Austen's virtuous characters is not the acquisition of a spouse or attaining a certain state in marriage but instead a "way of existing in a kind of harmony with life as a whole" (Emsley 25). The "final good" for Austen's heroines is living life in such a way that one's marriage, friends, financial affairs, and intellectual activity are unified into a happy whole.
This idea is exemplified at the end of Mansfield Park, where Fanny Price finally appears to reach a state of happiness or human flourishing not just through her marriage to Edmund Bertram and those things that depend upon the marriage—her acquisition of the Mansfield parsonage as a home, her eventual financial independence, and her familial reconciliation—but also through her own actions. Fanny finds pleasure and fulfillment in mentoring her sister Susan while at Portsmouth. In advising Susan to restrain her temper and to have patience and tolerance, Fanny feels "the blessing of affection" and "the hope of being useful to a mind so much in need of help" (460). Susan becomes a dear sister, friend, and confidante to Fanny. Fanny then has "the happiness of observing [the] good effects" of her instruction (460) and ultimately the joy of seeing Susan established at Mansfield as a comfort to Lady Bertram. Fanny also makes a place for herself at Mansfield and finds true happiness in being of service to her family there. While she is at Portsmouth, she not only misses "all the pleasures of spring" at Mansfield and the "animation both of body and mind" that watching her aunt's garden gave her, but she also longs "to be useful to those who were wanting her!" (500). "Mansfield was home," she thinks to herself (499). Fanny comes to understand that she finds happiness in being useful to her aunts and uncle, in "supporting the spirits of her Aunt Bertram," and saving them "some trouble of head or hand" (500).
Austen's heroine achieves eudaimonia not just through her marriage but through her establishing and recognizing her presence at Mansfield as a "general good" (501). Fanny, like Catherine Morland, finds perfect happiness through "true merit and true love, and no want of fortune or friends" (547), some of which is the result of her marriage and some of which is the product of her own conduct and process of self-discovery. Austen's telos thus appears to be more feminine and domestic in nature than Aristotle's in so far as it does not include public life or political concerns in this harmony of existence. Her perspective centers on a similar kind of human flourishing and happiness as Aristotle's, merely on a more limited scale.
Even if Jane Austen never read Aristotle's work, his ideas pervade the books she both read and wrote. Understanding the key ways in which Jane Austen's ethical ideas are similar to those put forward by Aristotle in the Nicomachean Ethics affects both the way one reads Austen's work and the way one understands Aristotle's literary legacy. Austen's notions of virtue and morality—similar to Aristotle's in so far as they presume a plurality of virtues akin to those stated in the Ethics, view the acquisition of virtue as a learning process involving constant practice, define virtue as a mean between two extremes, and adopt a teleological perspective whereby practicing virtue aims at a higher good—are decidedly classical in nature. Though her virtues are more traditionally feminine, Christian, and domestically oriented than Aristotle's, it would be incorrect to label Austen either a subversive feminist author or a straightforwardly conservative Christian author, as some readers have done. Austen's virtues are conservative in that they follow a precedent set by classical philosophy and incorporate elements of Christian theology, and they are also quite versatile, as is exemplified in Austen's ability to rework them into a more limited female space in her novels. By infusing classical Aristotelian virtues with a Christian and feminine sensibility, Austen gives her ethics a flexibility and adaptability that defies strict categorization.
1Gilbert Ryle and Sarah Emsley both argue that seventeenth- and eighteenth-century writers greatly influenced Austen's ethics. Ryle argues, "Jane Austen's specific moral ideas derived, directly or indirectly, knowingly or unknowingly, from Shaftesbury" (298). Emsley notes that while "it is possible that Austen read Plato, Aristotle, Augustine, Aquinas, Chaucer, or Spenser on the virtues, she inherits the tradition of the classical and theological virtues primarily through her reading of and active engagement with the works of Shakespeare, Samuel Johnson, and Henry Fielding" (12). She also cites Mary DeForest's argument that Austen "may in fact have had something of a classical education" and that she "probably did learn Greek and Latin from her father" and as a result "might have read Aristotle's Ethics" (18). David Gallop, quoting Samuel Taylor Coleridge's assertion, "Every man is born an Aristotelian or a Platonist," claims that Austen's fiction "embodies an Aristotelian, rather than a Platonic, aesthetic" (96). He concludes that if Austen were not consciously an Aristotelian, then "she must have been born one" (106).
2While a number of scholars have written about Aristotle's influence on Austen's work, many have focused on specific similarities and correlations between Austen and Aristotle's ethical theories rather than a more general comparison. Emsley offers perhaps the most extensive comparison and analyzes the importance of both Aristotle's philosophy and St. Thomas Aquinas's theology in Austen's theory of the virtues. Gallop also presents a comprehensive comparison; he not only examines Austen's ethics in comparison to Aristotle's but also the way in which her fiction as a whole embodies an Aristotelian aesthetic. Both Ryle and MacIntyre focus on Austen as a moralist who drew on classical philosophy, including Aristotle, for her ethical theories. Various other writers, such as Anne Ruderman, John Ely, and Allan Bloom, also mention connections between Austen and Aristotle's theories of morality, though not as extensively.
3Aristotle's discussion of megalopsuchia (μεγαλοψυχία)—"greatness of soul," "high mindedness" in Book Four of the Ethics—seems to be relevant only to men. Megalopsuchia is considered the crowning ornament of virtue for the "proud man" (4.3), who is only concerned with great things and who enjoys a "superior position" (4.3) because of his wealth, power, and high birth. Aristotle's discussion, moreover, of certain material conditions necessary for the proper practice of virtue and a fully successful human life, mentioned later in this essay, seems to exclude anyone except wealthy, handsome, well-connected, and proud Greek males from the possibility of living the good life.
4Ryle also notes that Northanger Abbey is "the one novel of six which does not have an abstract ethical theme for its backbone" (293). While the novel is certainly more a parody of gothic romance than a serious ethical inquiry, Northanger Abbey does in fact raise questions about the process of attaining and practicing virtue. Catherine Morland must go through an Aristotelian educational process about "how the actual world runs" (Ryle 293), and she must learn, much like Emma Woodhouse, how to interact in society with propriety, modesty, and good sense. In fact, one of the most predominant themes in the novel is that of seeing people and situations clearly, not through a haze of preconception, naiveté, or runaway fancy.
5I credit this insight regarding the palindromic nature of Emma's name and personality to the initial reviewer of my essay for Persuasions On-Line.
6The Online Liddell-Scott-Jones Greek-English Lexicon defines eudaimonia (εὐδαιμονία) as "prosperity, good fortune, opulence" or "true, full happiness." As James Lesher states, many scholars, including J. L. Austin, have pointed out that eudaimonia means more than simply "happiness," as it is often translated, since this translation wrongly implies that "achieving eudaimonia is a matter of acquiring a certain set of beliefs or feelings"; rather, the meaning of the word is "much closer to 'success,' 'prospering,' 'flourishing,' or 'living well'" (108). Lesher also notes that the adjective eudaimon (εύδαίμων), from which the noun is derived, literally means "'under the protection of a benevolent deity' and applies to persons who have lived a rich and rewarding life" (108).
Aristotle. Nicomachean Ethics. Trans. W. D. Ross. The Internet Classics Archive: Nicomachean Ethics by Aristotle. 2009. 31 Mar. 2015.
Austen, Jane. The Cambridge Edition of the Works of Jane Austen. Gen. ed. Janet Todd. Cambridge: CUP, 2005-08.
Bloom, Allan. Love and Friendship. New York: Simon, 1993. 191-208.
Bree, Linda. "The literary context." The Cambridge Companion to Pride and Prejudice. Ed. Janet Todd. Cambridge: CUP, 2013. 55-66.
Ely, John. "Jane Austen: A Female Aristotelian." Thesis Eleven 40.93 (1995): 93-118.
Emsley, Sarah. Jane Austen's Philosophy of the Virtues. New York: Palgrave, 2005.
Gallop, David. "Jane Austen and the Aristotelian Ethic." Philosophy and Literature 23.1 (1999): 96-109.
Lesher, James H. The Greek Philosophers: Selected Greek Texts from the Presocratics, Plato, and Aristotle. London: Bristol Classical P, 1998.
Liddell, H., and R. Scott. LSJ: The Online Liddell-Scott-Jones Greek-English Lexicon. Thesaurus Linguae Graecae, 2009. Web. 10 Apr. 2015. http://stephanus.tlg.uci.edu/lsj/#eid=1&context=lsj.
MacIntyre, Alasdair. "From The Virtues to Virtue and after Virtue." After Virtue. 3rd ed. Notre Dame: UNDP, 2007. 226-43.
Ruderman, Anne Crippen. The Pleasures of Virtue: Political Thought in the Novels of Jane Austen. Lanham: Rowman, 1995.
Ryle, Gilbert. "Jane Austen and the Moralists." 1966. Collected Papers: Critical Essays. New York: Routledge, 2009. 286-301.
White, Laura Mooneyham. Jane Austen's Anglicanism. Burlington: Ashgate, 2011.
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Mental health is a college stumbling block. For students of color, it can be a wall
By Laura Krantz Globe Staff,July 10, 2018, 12:11 p.m.
Rusty Cosino, a former Boston College student, at his family home in Daly City, Calif.Jan Sturmann for the Boston Globe
As the daughter of Lebanese immigrants growing up in Minnesota, Rayyan Mikati was used to being one of few people of color in her high school classes.
But when she arrived at Northeastern University four years ago, she felt even more isolated by her culture and religion. Mikati developed an eating disorder, and she struggled to find people who could understand where she was coming from.
Her therapist was sympathetic but she couldn't fully relate to cultural issues like how to handle Ramadan, a month of fasting. Mikati found a great student support group, but she felt unable to speak as openly as she could around other Muslims.
The obstacles are familiar to racial and ethnic minorities on campuses nationwide and affect how they get assistance. New national research by a Boston University professor shows minorities are less likely than white students to seek mental health services or have their problems properly diagnosed and treated.
Arab and Arab-American students have the highest prevalence of mental health issues and the lowest levels of knowledge about mental health, the study found. Asian students are least likely to believe they have a need for mental health treatment.
And at a time of renewed national attention to mental health issues and suicide among young people, the needs of students of color are of particular concern to college officials, whose student bodies have become increasingly diverse.
"We all know that there is need," said Madeleine Estabrook, the vice president for student affairs who oversees Northeastern's efforts around mental health. "I think we're trying to come at it from as many angles as we think of."
BU professor Sarah Lipson, whose research included a survey of 43,000 college students across the country from 2012 to 2015, measured not only their mental health status by race and ethnicity but also the rate at which they sought help.
Students of all races experience mental health issues at roughly the same rate, but students of color are less likely to seek help, the research shows.
Among those with clinically significant symptoms of a mental health condition, 46 percent of white students received mental health treatment in the past year, compared with 26 percent of African-American students, 23 percent of Asian students, and 33 percent of Latino students, according to the study.
Lipson found that many students of color deny they need help or opt to deal with the issues themselves.
Many worry about being a burden to their families, judged by other students, or misunderstood by counselors who don't understand cultural issues.
"You're held up as an example of what everyone else in your community is like," Mikati said. "Basically you don't want to pollute an idea of what your community is to people who are not a part of it."
At Northeastern, Mikati's therapist at one point suggested she take time off school to seek more intensive treatment for her eating disorder, but she declined because she didn't want to fall behind in school or become more of a financial burden to her parents.
"I think that's a really common idea of 'I'm not going to accept more help from you because you've already gotten me to this point,' " she said.
Lipson, whose findings will be published in the Journal of Adolescent Health, said she hopes her work will spur not only more research but action by colleges to address the specific mental health needs of students of color and the barriers they face in seeking it.
"We have a more diverse student body in colleges across the country than we ever did before, which is something to celebrate, but that also comes with enormous responsibilities," Lipson said.
Students with untreated mental health issues are more likely to drop out, research has shown. Students of color already face lower graduation rates, and if schools are serious about helping them succeed, they should do more to address their mental health needs, Lipson said.
Experts in the field of college mental health say schools have begun to take steps to reach more students of color.
McLean Hospital, a psychiatric institution, for the past 10 years has run a program focused on college students. The program director, Stephanie Pinder-Amaker, said nearly 80 percent of the requests she receives for consultation from colleges have to do with reaching students of color and other marginalized populations.
That wasn't always the case, she said.
Pinder-Amaker said she tells schools to talk directly to students of color to find out what types of services would be helpful to them and what barriers might stop them from seeking help.
"It's up to us to figure out what are the barriers," she said. "Sometimes the barriers are real, sometimes they're perceived barriers, but it doesn't matter."
Northeastern University has a diverse student body, with a large number of international students. The university is trying to reach more students of color through the cultural centers on campus and by experimenting with video therapy that students can use on their smartphones or computers. It has a much lower copayment ($10) and shorter wait times.
Northeastern is also working to hire more therapists. The school has about 20,000 students and 12 therapists, though it hopes to hire three more over the summer, according to Estabrook. Two therapists are people of color, and one speaks Chinese.
Still, many students find the most support from fellow classmates.
At Boston University, Anjali Balakrishna said she is part of a student group that helped her open up about her mental health and change the way she thinks and talks about it.
Balakrishna struggled to describe her problems to family members, including her grandmother in India. "She just laughed and said it's all in your head," she said.
Things have changed, however. Balakrishna is working to improve her mental health through the student organization, therapy, and a service dog. And her grandmother has become more open about the subject. Balakrishna hopes other students and their families will, too.
"If my grandmother who is in her 80s can start to kind of shift her views and be more open and understanding to these kinds of things, that's definitely a positive sign to what could happen," she said.
For one student, the right answer for his mental health challenges was escaping the stressful environment at school in Boston and returning home to California.
Rusty Cosino, who attended Boston College until he transferred to San Francisco this year, said even though he has dealt with mental health issues his whole life, it is still a taboo topic among some of his relatives. If you are struggling, they say, it is because you are not trying hard enough, he said.
Cosino, who is Filipino and was raised by his grandmother, said his mental health trouble began in high school. He was at the top in his class and making his family proud, but then his academic performance slipped, and with it his self worth. He almost didn't graduate from high school on time.
"I thought I wasn't worth anything anymore," he said.
At college, it was hard to be so far from home, and he sometimes felt his high school had not prepared him for the rigors of BC. His grades slipped again, he said.
During his struggle, Cosino was able to get an appointment with a school therapist who was helpful, but he also saw a psychiatrist who put him on what seemed like a random succession of medications that did not work.
Cosino took one leave of absence his freshman year and another after a breakdown last December. He now lives at home, has a job he likes, and plans to finish school in California.
The debt he accumulated at BC had also begun to weigh on him.
"It's not that I'm finally cured or anything, but I've come to terms with how I am and what my conditions are," he said.
Laura Krantz can be reached at laura.krantz@globe.com.


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LAMY specs
Ideas which change everything
Welcome to LAMY specs Vol. 3. Read here what the new issue holds for you.
What works is beautiful – "form follows function". This was the motto of the Bauhaus, which was founded in Weimar in 1919. Even though it only existed for 14 years, the Bauhaus has had a lasting effect on subsequent generations: in the areas of architecture, art, and design. On the occasion of its upcoming jubilee, we are taking a look, in this edition, at the legendary school of design – and the continuation of its ideasup to the present day. The Lamy design philosophy also has its origins in the Bauhaus. It entered into our product range in 1966 with the LAMY 2000. Since then it has defined the style of all Lamy writing instruments. It is based on the conviction that the function determines the form, and this should always be clear, reduced and free from superfluous details.
The best example of this is the LAMY dialog 3. From the outside, one cannot see how complex the technology is on the inside. Nib and clip can be retracted with a single twist of the capless fountain pen. A technical solution which is unique to this day. The LAMY dialog 3 was designed by Franco Clivio, who also developed the LAMY pico pocket ballpoint pen for and with Lamy – "the most beautiful task that I have ever had in my life." In our interview, the designer explains how he was inspired by a discovery at a flea market.
We hope you enjoy this inspiring read!
Do you have any questions or comments? Drop us an e-mail!
specs@lamy.de
"The Bauhaus was an idea, and I think that the reason it had such a tremendous influence on every progressive school…"
The product designer Franco Clivio has his own way of drawing nearer to the objects which he designs.
The human hand is an evolutionary stroke of genius. Its precision and sensitivity are unique.
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Open LAMY specs Vol. 1
Leap into the unknown
Everything is different
The word "specs" in the title, short for specifications, is originally a term from product development.
What we mean by this is the sum of all the facets that make Lamy special and unique. The topics which interest us, the personalities and stories which surround us.
Yet we always return to our central brand values, which guide everything we do and are as immovable as the Pole Star. "Design. Made in Germany" is just as much part of this as the commitment to writing by hand – even in, or particularly in, this digital age. As a writing instrument brand, we are intrinsically rooted in the real, haptic world. And yet analogue and digital are not a contradiction for us – in fact they are two sides of the same coin. They supplement, complement each other.
With this in mind, we hope that reading LAMY specs proves an inspiration to you.
Let us know what you think of the format – we look forward to receiving your feedback!
In the print edition of LAMY specs, many contents are marked with the note "Scan this image" or "Scan this page". After the app has been installed on your mobile device, just open the app and hold the screen above the relevant page. Videos or 3D animations will start automatically. You can download the LAMY specs app free of charge from the Apple App Store or Google Play.
The special elegance of the LAMY studio demonstrates just how close design and art can be. The propeller-shaped clip accents the pen's innovative form.
Many attractive colours, timeless design, perfect ergonomics. These are just some of the reasons that the LAMY safari is one of the most popular writing instruments worldwide. Distinctive recessed grip guarantees writing comfort.
The smooth deep-drawn aluminium body components are the first of their kind and give the series a unique, harmonious appearance.
The LAMY 2000 has been writing design history since 1966. As a timeless classic it is still one of the most modern writing instruments today.
The scala series by LAMY is a family of writing instruments that entices through formal simplicity yet radiates emotional details.
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text:
Maximilien Brisson est un chef d'orchestre québécois. Il dirige l'Orchestre à vents péri-phonique en co-direction avec Martin-Paul Beaulieu depuis 2011 et l'Orchestre philharmonique de la Métropole depuis 2014.

Liens externes
 Fiche biographique sur Les Concerts de la Métropole
 Article du critique Claude Gingras, 2015-05-05

Chef d'orchestre québécois

redpajama_set_name: RedPajamaWikipedia


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We will guide you through implementation to ensure your employees have the opportunity to address their individual and family benefit needs. Our team will help you communicate with everyone from the executive team to new hires to educate your employees about the value of their benefits. The goal is to create a clear understanding around the products offered and increase participation.
Easy enrollment process and seamless implementation.


text:
Zinc8 Energy Solutions
Zinc8 Energy Solutions Wins 'Energy Tech Innovator' Award at WE3 Summit
VANCOUVER, BC / July 12, 2021 / Zinc8 Energy Solutions Inc. (" Zinc8 " or the " Company ") (CSE:ZAIR) (OTC PINK:ZAIRF) (FSE:0E9) is pleased to announce that subsequent to a nomination by the New York Power Authority (NYPA), Zinc8 Energy Solutions and its 'Zinc-air energy storage system technology' were selected as the 'Energy Tech Innovator' at the WE3 Summit.
The WE3 Summit whose focus is to connect global thought leaders who are embracing change and putting a dent in spearheading our water-energy future. This award is associated with the WE3 CleanTech Innovation Series. The series unites utilities, philanthropists, regulators, and tech innovators who are leading the new era of sustainability where global access to clean water and energy become actionable.
"This is another important affirmation of Zinc8's unique energy storage technology and its leading role in providing long duration and low-cost energy storage which allows higher integration of renewable energy into the grid," said Zinc8 Energy Solutions CEO Ron Macdonald.
The WE3 Summit is a collaboration between Texas based research organization Zpryme and Smart Energy Water. Zpryme is a research-based, media and events firm with a focus on three areas: energy, transportation, and mobile. The WE3 Summit committee selected Zinc8 Energy Solutions for the WE3 'Energy Tech Innovator' Award who on April 8 th , 2021, announced the signing of a host site agreement with the University at Buffalo, the State University of New York, and The New York Power Authority. See April 8 th press release - Press Release .
About Zinc8 Energy Solutions Inc.
Zinc8 has assembled an experienced team to execute the development and commercialization of a dependable low-cost zinc-air battery. This mass storage system offers both environmental and efficiency benefits. Zinc8 strives to meet the growing need for secure and reliable power.
To watch a short video outlining Zinc8's technology, please visit https://zinc8energy.com.
More about the Zinc8 Energy Storage System (ESS)
The Zinc8 ESS is a modular Energy Storage System designed to deliver power in the range 20kW - 50MW with capacity of 8 hours of storage duration or higher. With the advantage of rechargeable zinc-air flow battery technology, the system can be configured to support a wide range of long-duration applications for microgrids and utilities. Since the energy storage capacity of the system is determined only by the size of the zinc storage tank, a very cost-effective and scalable solution now exists as an alternative to the fixed power/energy ratio of the lithium-ion battery.
The Zinc8 ESS is based upon unique patented zinc-air battery technology. Energy is stored in the form of zinc particles, similar in size to grains of sand. When the system is delivering power, the zinc particles are combined with oxygen drawn from the surrounding air. When the system is recharging, zinc particles are regenerated, and oxygen is returned to the surrounding air.
The flexibility of the Zinc8 ESS enables it to service a wide range of applications. Typical examples include:
Smoothing energy derived from renewable sources such as wind and solar
Commercial/Industrial backup replacing diesel generators
Industrial and grid scale, on-demand power for peak shaving and standby reserves
Grid-scale services such as alleviating grid congestion, deferring transmission/distribution upgrades, energy trading and arbitrage, and increasing renewable energy penetration.
The Zinc8 ESS is designed according to a modular architecture that enables a wide variety of system configurations to be created from a small number of common subsystems. Each subsystem implements a single element of the technology:
The Zinc Regeneration Subsystem (ZRS) provides the recharging function
The Fuel Storage Subsystem (FSS) provides the energy storage function
The Power Generation Subsystem (PGS) provides the discharging function
Notice Regarding Forward Looking Statements
All statements and disclosures, other than those of historical fact, which address activities, events, outcomes, results or developments that Zinc8 Storage anticipates or expects may or will occur in the future (in whole or in part) should be considered forward-looking statements.
Forward looking statements in this press release include that we can execute the development and commercialization of a dependable low cost zinc-air battery; that our mass storage system offers both environmental and efficiency benefits; and that we can help meet the needs for secure and reliable power. Zinc8 Energy Solutions believes the material factors, expectations and assumptions reflected in the forward-looking statements are reasonable at this time, but no assurance can be given that these factors, expectations and assumptions will prove to be correct. The forward-looking statements included in this news release are not guarantees of future performance. Such forward-looking statements involve known and unknown risks, uncertainties and other factors that may cause actual results or events to differ materially from those anticipated in such forward-looking statements including, without limitation: that we are not able to raise funds as expected; that our technology fails to work as expected or at all; that our technology proves to be too expensive to implement broadly; that customers do not adapt our products for being too complex, costly, or not fitting with their current products or plans; our competitors may offer better or cheaper solutions for battery storage; general economic, market and business conditions; increased costs and expenses; inability to retain qualified employees; our patents may not provide protection as expected and we may infringe on the patents of others; the completion of our planned private placement or are unable to raise all of the funds we are seeking to raise; and certain other risks detailed from time to time in Zinc8 Energy Solution's public disclosure documents, copies of which are available on the Company's SEDAR profile at www.sedar.com. Readers are cautioned that the foregoing list of factors is not exhaustive and are cautioned not to place undue reliance on these forward-looking statements.
The forward-looking statements contained in this news release are made as of the date hereof and the Company undertakes no obligations to update publicly or revise any forward-looking statements, whether as a result of new information, future events or otherwise, unless so required by applicable securities laws.
Neither the CSE nor any Market Regulator (as that term is defined in the policies of the CSE) accepts responsibility for the adequacy or accuracy of this release.
Zinc8 Energy Solutions Inc.
Mark Baggio
Incite Capital Markets
Kristian Schneck / Eric Negraeff
© 2020 Zinc8 Energy Solutions Inc. All Rights Reserved.


text:
Lloyd Colquitt Glenn (November 21, 1909 – May 23, 1985) was an American R&B pianist, bandleader and arranger, who was a pioneer of the "West Coast" blues style.

Career
Born in San Antonio, Texas, from the late 1920s, Glenn played with various jazz bands in the Dallas and San Antonio areas, first recording in 1936 with Don Albert's Orchestra. He moved to California in 1941, joining the Walter Johnson trio in 1944, and finding employment as a session musician and arranger.  He accompanied T-Bone Walker on his 1947 hit "Call It Stormy Monday", and later the same year made his own first solo records, billed as Lloyd Glenn and His Joymakers.

In 1949 he joined Swing Time Records as A&R man, and recorded a number of hits with Lowell Fulson, including "Everyday I Have the Blues" and the #1 R&B hit "Blue Shadows".  He also had major R&B hits of his own, with "Old Time Shuffle Blues" (#3 U.S. Billboard R&B chart in 1950) being followed by "Chica Boo", which also made #1 on the R&B chart in June 1951.  At the same time, he continued to perform as pianist in Kid Ory's Creole Jazz Band.  Glenn left Ory in 1953, about the same time that he was contracted to Aladdin Records, where he both produced and played on, B.B. King's 1960 album, My Kind of Blues.

He continued working through the 1960s, as both a session musician with King, Walker and others, and as a recording artist in his own right. Towards the end of his career he played at clubs in Los Angeles, performed at the Monterey Jazz Festival, and toured with Clarence "Gatemouth" Brown, Big Joe Turner, and his musician son, Lloyd Glenn Jr.

Glenn died in Los Angeles, California of a heart attack in May 1985.

Discography

With Eddie "Cleanhead" Vinson
The "Clean" Machine (Muse, 1978)
With T-Bone Walker
Stormy Monday Blues (BluesWay, 1968)

References

External links
[  Allmusic.com biography]

1909 births
1985 deaths
Musicians from San Antonio
African-American pianists
American rhythm and blues musicians
American blues pianists
American male pianists
Record producers from Texas
Imperial Records artists
RPM Records (United States) artists
West Coast blues musicians
20th-century American businesspeople
20th-century American pianists
20th-century American male musicians
20th-century African-American musicians


text:
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redpajama_set_name: RedPajamaGithub


I absolutely LOVE life and know life is way too short to be spent on things you don't love or that stress you out. I'd love to live to oh, about 110 or 120 and want to live life as fully as I can that whole time. Aquablue was a way to inspire and help others (and myself) relax and really enjoy life to the fullest.
A page from a quote of the day calendar caused me to just walk in and quit my last job one day (yeah, I'm a little bit of a risk taker and that story's to come in a later post). That's why the power of words is a central theme at Aquablue. If you've ever been in the store, you know that there are words everywhere. Little reminders to incorporate into your daily life to remember what's important, keep you motivated, and give you peace when you need it.
But, as I've worked on my business and lived life the past few years, I've gone through so many challenges and know that there's a lot more to it. Keeping a positive mindset is tough. Taking chances is tough. Trying to keep up when you've got so much going on is tough. We all have a lot of clutter that weighs us down…a negative body image, literally owning too much, not being able to say no, and so on. Those "little" things can prevent us from living the life we love need to be taken care of too.
Thus, this blog and classes at the store were created. I want you (and me) to really get to the heart of the situation and clear up those obstacles in addition to the more high level things we can do like having a motivational quote on our desk, owning a piece of jewelry with the names of our loved ones to remind us who's important, or keeping a journal to remember why we should be grateful. The little and big things need to work together to give us that life we love.
So this blog will be about things like keeping up your motivation (even when sometimes you don't feel like it), simplifying your life so you can focus on the things that are important to you, gaining more confidence, getting rid of all the little "obstacles" to work around, figuring out how to "get it all done". Some days I may post a pretty article and some days I'll just talking about what's going on in my life right now and how I'm learning to deal with it, learn from it, and hopefully thrive from it!


Jesus said to his disciples: "When the Advocate comes whom I will send you from the Father, the Spirit of truth that proceeds from the Father, he will testify to me. And you also testify, because you have been with me from the beginning."
"I have much more to tell you, but you cannot bear it now. But when he comes, the Spirit of truth, he will guide you to all truth. He will not speak on his own, but he will speak what he hears, and will declare to you the things that are coming. He will glorify me, because he will take from what is mine and declare it to you. Everything that the Father has is mine; for this reason I told you that he will take from what is mine and declare it to you."
I had the privilege of visiting the Grand Canyon some years ago. I vividly remember standing in complete awe of the beauty and mystery that was flooding my mind. I also recall a profound sense that my brain was unable to capture in that moment the fullness of all that was being presented to my senses, the colors, the depths, the distances, the sounds and the majesty. There is a similar reality for Christians when we gaze upon the feast of Pentecost and the mystery of the Holy Spirit. The beauty and mystery of the Holy Spirit is vast and wide. Let's look at a few snap shots in order to capture a glimpse of its beauty.
First of all, we cannot even believe in Jesus Christ without the aid of the Holy Spirit. St. Paul reminds us in the first letter to the Corinthians, "No one can say, 'Jesus is Lord,' except by the Holy Spirit." (1 Cor 12:3b) Furthermore, it is the Holy Spirit dwelling in us that enables us to cry out "Abba, Father," So then, we believe that the outpouring of the Holy Spirit, given first at Pentecost and today in baptism and confirmation, makes faith in God possible. Consequently, the Holy Spirit has an irreplaceable role in the life of a Christian.
The Holy Spirit is also the Spirit of truth. Jesus says to His disciples in today's Gospel that He has much more to reveal to them but they are not able to bear it at this time. So, He makes a promise. "But when He comes, the Spirit of truth, He will guide you to all truth." (Jn 16:12) Jesus entrusts the Holy Spirit to the Church and her leaders, the Apostles, so that the Church can understand, preserve and hand on the truths revealed by Him concerning God and His plan for our lives. Jesus pledges the Holy Spirit to the Church as a guarantee that she will never teach what is contrary to the will of the Father in matters of faith and morals.
A final snapshot is provided by the description of Pentecost given today in the Acts of the Apostles. A direct reference is made to the tower of Babel in the book of Genesis that serves as a symbol of the tragic disunity in our world caused by the sin of pride. Before humans started to build the tower, they speak the same language and live together in the same land. Following the start of its construction, God becomes upset because they disregarded Him and went about "doing whatever they presume to do." (Gen 11:6) As a result, they become confused, start to speak different languages, and are scattered to the ends of the earth. The message is simple: the pride of man led to disunity. One of the principle effects of the coming of the Holy Spirit at Pentecost as related by St. Luke in Acts is that everyone from around the world hears the Apostles proclaim the mighty deeds of God in their own language. God chooses to renew the whole world and to restore unity to humanity through the outpouring of the Spirit of love and the gift of faith in Christ Jesus.
As I stood some years ago learning against the rail and looking upon the Grand Canyon, I realized that I had to focus on certain specific scenes because I just could not take in the majesty of the whole canyon at once. Today, it helps to do the same as we ponder the great gift of the Holy Spirit. May the Lord assist us with His grace to see clearly the majesty of the Holy Spirit, especially as the Source of faith, love, truth and unity for all of mankind.