Career Commitment Assignment Example | Topics and Well Written Essays - 250 words

Career Commitment - Assignment Example In the case of the former, it emanates from employees being emotionally attached to their organizations (Tiwari, 2009). They identify with the objectives and values of the organization and work towards accomplishing the given goals. In some instances, a commitment to an organization occurs due to fear of losing jobs. In such a case, the employees consider the pros and cons when they leave the organizations. Due to the organization commitment, employees have an obligation to work towards achieving the goals of an organization. Career committed employees are relatively mobile because they are in constant search of better opportunities to advance in their careers. The employees consider their personal goals in line with career objective more than the benefit to an organization (Carter, Cook & Dorsey, 2009). When the employees leave for better opportunities, then organizations suffer. They have to spend money on recruiting new individuals. The normal operations of the organization undergo interruption due to the loss of input from such workers. In general, career committed workers are always on the move. Compared to the organizational commitment, career committed workers negatively impact on the success of an organization. As people advance in age, organizational commitments become

Gender communication Essay Example | Topics and Well Written Essays - 750 words

Gender communication - Essay Example (Payne, 2001) Thus drawing for a communication difference scenario between men and women, one comes to an understanding that the two communicate in quite varied ways. This is because it is an inherent feature of their make-up, the composition in which they have been made. While men tend to be open and blunt about their thoughts, actions and perceptions, women, on the other hand are more inclined to take it the soft way. This is because they perceive things pretty easily as compared to men who usually are hard and stubborn in their undertakings. Because of this men are known to be violent even within their communicative regimes while women are more sedate and sober when it comes to conversation and the like, all under the heading of communication. (Cody, 1995) Furthermore, men are known to be dominant over their clan while women are known to be subversive within their own rights – yet raising no qualms about their dealings and the ways in which they go about conducting themselves. It is a known fact that within the communicative aspects, men are open to defend their own selves in the wake of differing reactions, afterthoughts and attitudes while women, for the large part, remain confident of their own disposition by remaining quiet and diffident. This is not because they are afraid of coming out clean and clear as per the issue at hand but because they like to remain light on every aspect on which their attention is hailed as supreme right from the onset. It is difficult to make out what women usually would come up with in the case of extreme circumstances. They are easier to cry and weep while it is a well known fact that men usually do not cry unless special circumstances prevail upon their nature. The role of assertion within men is generally more as compared to women. Men feel more asserted as per their points of

British Social Realism

British Social Realism In order to fully understand the origins and ideals behind the British Social Realism movement it is important to not only explore this period of cinema history but to also study the interrelationship between film and other Art forms. Social Realism, also known as Socio-Realism, is an artistic movement, articulated in the cinematic and other realist arts, which portray working class activities. The ancestry of realism can be traced back to the 19th century art. With the decline of the Romantic Movement, artists looked to show the world in a more literal way and attempt to move closer to observation and away from the non-representational by creating objective representations of the world based on the observation of contemporary life, such as nature, society, the characteristics of the individual and the nation at large. Realism was independent, including in its subject-matter activities and social classes until that time considered unworthy of representation in fine art. The most articulate development of Realism was in French art, where it concentrated on the work of Gustave Courbet, who used the word realism as the title for a manifesto that accompanied an exhibition of his works in 1855. Ilya Repin, a famous Social Realist said that his art work was aimed â€Å"To criticize all the monstrosities of our vile society† although its influence extended into the 20th cen tury its later manifestations are usually labelled as Social Realism. The latter half of the 19th century has been called the positivist age. It was an age of belief in all knowledge which was driven from science and scientific objective methods. Positivist thinking is obvious in the full range of artistic developments after 1850 from the emphasis on the phenomenon of light, to the development of photography and the application of new technologies in architecture and constructions. The artificiality of both the Romanticism and Classicism in the academic art was unanimously rejected, and necessity to introduce contemporary to art found strong support. New idea was that ordinary people and everyday activities are worthy subjects for art. Whilst Realism in France appears after the 1848 Revolution and expressed a taste for democracy, at the same time in England artists, Realists came before the public with the reaction against the Victorian materialism and the conventions of the Royal Academy in London. Literary Gazette, described Social Realism as â€Å"the representation of the proletarian revolution†. By the 1840s both artists and scientists had come to value Realisms empirical study of nature. It was partly this interest in accurate visual records that first led to the use of the camera obscura as an aid to drawing and the development of photography as a way of fixing its image. The idea of the camera as an instrument of knowledge is a powerful assumption underlying many photographic practices, from 19th-century studies of criminality and mental illness to 20th-century documentarism. With a common ideal uniting many Artists and Scientists you would imagine that you could draw a straight line between Realism, the invention of the photographic camera and Social Realism British Cinema but photography, which was developed to bypass the inaccuracies of the human hand, quickly became ‘corrupted. â€Å"Jonathan Crary has argued that by the 19th century the camera was no longer understood as a model of objective knowledge, but had become part of a whole series of optical toys devised to stimulate subjective and embodied vision, now understood as an active and creative element of visual experience. Following Crary, Geoffrey Batchen argues that early photographers were motivated by romantic desires for traces of nature, as much as the need to know, classify, and possess it. Dr Johnson would doubtless have dismissed such approaches as philosophical hair-splitting. Photographs, after all, seem to mirror the world, or at least a fragment of it in space and time. But the photographers choices—lens, viewpoint, framing, timing—intervene between the object and its image, even when these seem natural or unwittingly made, as in snapshot photographs. Realist images are as much constructed as the most complex studio set; their illusion of transparency enhances their ability to construct and confirm conceptions of reality itself.† Patrizia di Bello As we have seen Realism is a movement that crosses art forms, forming in painting, through the development of photography and emerging again in the developing visual art of cinema. In Italy neorealism was a style of film that refelected the early French Realist ideals and told stories set amongst the poor and working class, filmed on location, often using nonprofessional actors. The films mostly contend with the difficult economical and moral conditions of post-World War II Italy, reflecting the changes in the Italian psyche and the conditions they faced in everyday life: defeat, poverty, and desperation. The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema. The group included including Michelangelo Antonioni, Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis, and Pietro Ingrao. The critics attacked the poor quality telefono bianco films of the time and felt that Italian cinema should turn to the realist writers from the turn of the century. The most common attribute of neorealism was location shooting and the dubbing of dialogue. The dubbing allowed for filmmakers to move in a more open mise-en-scà ¨ne. Principal characters would be portrayed mostly by trained actors while supporting members (and sometimes principals) would be non-actors. The idea was to create a greater sense of realism through the use of real people rather than all seasoned actors. The rigidity of non-actors gave the scenes more authentic power. This sense of realism made Italian neorealism more than an artistic stance, it came to embody an attitude toward life. The next development in the Realist movement was the French New Wave. This was a blanket term coined by yet another group of critics of the late 1950s and 1960s. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Again, the socio-economic forces at play shortly after World War II strongly influenced the movement. A politically and financially drained France tended to fall back to the old popular traditions before the war. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. Thanks to the ongoing development of film equipment the face of cinema was constantly evolving and in the same way that Cinema Verite became possible lightweight cameras, lights, and sound equipment allowed the New Wave directors to shoot in the streets, rather than in studios. This fluid camera motion became a trademark of the movement, with shots often following characters down Paris streets. The movies featured unprecedented methods of expression, such as seven-minute tracking shots (like the famous traffic jam sequence in Godards 1967 film Week End). Many of the French New Wave films were produced on small budgets, often shot in a friends apartment, using the directors friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots). As with most art-film movements, the innovations of the New Wavers trickled down to the other cinema cultures. Social Realism in British films peaked during the 1960s when what is commonly referred to as the British New Wave emerged. The new wave directors such as Karel Reisz, Lindsay Anderson and Tony Richardson had made a number of documentaries before moving on to feature films, and many of these had been screened at the National Film Theatre event christened Free Cinema in the 1950s. Like the auteurs of the Italian Neo realism and French New Wave, many of the British directors were knowledgeable critics as well, affiliated with Sequence magazine. This gave them ample opportunity to promote their agenda. Free Cinema was described by Tony Richardson as â€Å"independent of commercial cinema, free to make intensely personal statements and free to champion the directors right to control the picture†. Documentaries such as O Dreamland (Anderson, 1956) about an English coastal resort and Momma Dont Allow (Reisz and Richardson, 1956) about a suburban jazz club put into practice these directors belief in â€Å"the freedom and importance of the everyday†. The themes and people discovered in these documentaries were something that the directors went on to introduce to mainstream cinema. The Free Cinema films were made without inhibitions, and led to the social realist aesthetic of putting ordinary people with problems onto the big screen. It is for this reason that the term kitchen sink drama was coined, to describe the hum drum lives of the masses, and angry young man to describe the rebellious protagonists. Amongst the many films that emerged during the new wave of social realism, there are dozens of stunning examples that continue being championed to this day. Look Back in Anger, A Taste Of Honey, Saturday Night and Sunday Morning, The Loneliness of the Long Distance Runner, This Sporting Life, Billy Liar, Cathy Come Home, Up The Junction and Room At The Top, to name a few. Many of these films were based on books and plays, as the social realist aesthetic was alive in literature and theatre at the time. The movement also ushered in a new wave of actors who embodied social realism in their use of colloquialisms and accents. Actors such as Tom Courtenay, Rita Tushingham and Albert Finney held up a mirror to ordinary working class Brits. In the UK, the term kitchen sink derived from an expressionist painting by John Bratby, which contained an image of a kitchen sink. The critic David Sylvester wrote an article in 1954 about trends in recent English art, calling his article The Kitchen Sink in reference to Bratbys picture. Sylvester argued that there was a new interest among young painters in domestic scenes, with stress on the banality of life. â€Å"Kitchen sink realism† was linked to the rise of the Angry Young Men, a category applied to a number of British playwrights and novelists from the mid-1950s. Their political views were seen as radical, sometimes even anarchic, and they described social alienation of different kinds. The authors included both left-wing and right-wing writers. They included John Osborne, Harold Pinter, John Braine, and Alan Sillitoe. The new wave of British film-makers captured the zeitgeist of the period, and paved the way for directors such as Mike Leigh, Stephen Frears and Ken Loach who continue to make films that shape a very regional British film industry. Films such as Riff Raff, Naked, and My Beautiful Laundrette, although made 20 30 years later, embody the same values as were inherent in the films of the New Wave The British New Wave Cinema only lasted a few years, from 1959 to 1963. Only about half a dozen films were made. Even though they were so few made, the film were very influential and Incredibly evocative, and enough to prompt critics of the time to talk of ‘a renaissance in British cinema. Coming at the end of a decade that was extensively perceived as ‘a doldrums era, based on a diet of lightweight comedies, gothic horror films and endless war vehicles the New Wave films were greeted by audiences as a breath of fresh air and paved the way for the transatlantic success that awaited British cinema in the Sixties. The main directors of New Wave cinema were Karel Reisz, Lindsay Anderson, Tony Richardson, and John Schlesinger . the majority came from the theatre, predominantly from the Royal Court Theatre, Richardson had made a name for himself by directing the plays of John Osborne, such as The Entertainer and Look Back in Anger to great critical approval. The foremost production company behind British New Wave cinema, Woodfall films, was in fact set up by Richardson and Osborne predominantly to put these stage plays on to the big screen, which they did with the likes of Richard Burton and Laurence Olivier in the leading roles. Woodfalls fortunes fared even better when Reisz and Richardson collaborated with northern realist authors and theatre writers such as Alan Sillitoe and Shelagh Delaney and took the unusual step for the film industry of those times of appointing them to write the screenplays for the films. Like with the French New Wave, taking the cameras out of the studio confines and engaging in much larger amounts of location shooting was another revolutionary idea for the industry, and was not welcomed by mainstream critics. But social realism was the vastly insperitional for new film-makers, scriptwriters, and a younger generation of actors, including Albert Finney, Rita Tushingham, Shirley Anne Field, Tom Courtenay, Alan Bates, Rachel Roberts, Richard Harris and the like. Karel Reisz had the first big commercial success with Saturday Night and Sunday Morning (1960), while Tony Richardson made A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962) and Lindsay Anderson engaged David Storey to script his own book of This Sporting Life (1963), which effectively brought New Wave Cinema to an end. The Loneliness of the Long Distance Runner is a challenging and inventive film from 1962, produced and directed by Tony Richardson, and starring Tom Courtenay with Sir Michael Redgrave and James Bolam in support. The Loneliness of the Long Distance Runner was the first British film to depict the brutality within the Borstal system later revisting in the film Scum (1979). The film caused outrage at the time and its anti-authoritarian agenda ran into problems with the British Board of Film Censors, which described its story as ‘blatant and very trying Communist propaganda, and particularly worrying for us because the hero is a thief and yet is held up to the admiration of silly young thugs. Critics also commented on how the film explored the novel features of the camerawork and editing for its time, the originality of the musical score, and debated the borrowings from the French New Wave, as well as, finally, the way in which the film continued to break new ground in British cinema of the day. Saturday Night and Sunday Morning was adapted from Alan Sillitoes first popular novel, and was about the new young working class. Directed by Karel Reisz and produced by Tony Richardson, Saturday Night and Sunday Morning stars Albert Finney, Rachel Roberts and Shirley Anne Field. The film was a revelation when it was initially released, not just for its realistic style, but also for its graphic portrayal of sex, extra-marital affairs, strong language, and, most contentious of all, abortion. Once again The British Board of Film Censors urged a general toning down of all the language and sex scenes. In particular, it required that the successful abortion scene promised in the screenplay and evident in Sillitoes original novel, be rendered ultimately ineffective and that the film-makers follow a policy of ‘social responsibility as far as possible. In conclusion the social realism fostered by New Wave Cinema made an indelible and lasting impression on British film-makers for many years, and can even be seen in such recent films as Pater Cattaneos, The Full Monty (1997), as well as Lynne Ramsays art-house success, Ratcatcher (1999). The spirit of the British Social Realist movement extended way beyond its own period and, indeed, still flourishes in British cinema today in filmmakers such as Shane Meadows. Bibliography http://www.answers.com/topic/realism?nr=1lsc=true http://en.wikipedia.org/wiki/Italian_neorealism http://www.open2.net/historyandthearts/arts/newwave_p.html http://filmstudies.suite101.com/article.cfm/social_realism_in_british_film http://en.wikipedia.org/wiki/Italian_neorealism http://en.wikipedia.org/wiki/French_New_Wave

Psychoanalytic Analysis of Shakespeare?s Hamlet Essay -- essays resear

If one wants to truly understand the psychological implications of William Shakespeare’s Hamlet, the primary focus should be on the character Hamlet, and how he develops and modifies throughout the play. Using the fundamentals of the psychoanalytic perspective of critical evaluation, one would be able to truly identify and explore the true nature of Hamlet, and the effects that his character has on the situation surrounding him. In order to gain a true understanding of most of the detail that is implied through Hamlet’s way of portraying himself to others, it is vital to look deep into the actions that are carried out, and analyze them psychoanalytically. Many have already written works that evaluate the play using this method, and one can also do this simply by having a good understanding of what a psychological evaluation truly is. Before beginning the analysis, it would be necessary to have a proper understanding of the psychoanalytical perspective. After attaining knowledge about the perspective, and reading Hamlet of course, one can begin to make important connections using details from the play.   Ã‚  Ã‚  Ã‚  Ã‚  In the actual play, one of the principle argument is whether Hamlet is truly mad or not. To analyze this for validity, one would have to look at the linguistics of the play and the situations that play out within it. There is concrete evidence, as well as implied detail, which leads one to believe that Hamlet is only acting as if he were mad in order to carry out his plan to avenge the death of the late King Hamlet. One of the first examples of this evidence shows itself when Hamlet warns Horatio of what he’s planning, and in effect, not to blow his cover. â€Å"Here, as before, never, so help you mercy, how strange or odd soe'er I bear myself,— As I, perchance, hereafter shall think meet to put an antic disposition on,— that you, at such times seeing me, never shall...note that you know aught of me:—this is not to do, so grace and mercy at your most need help you, swear.† (Hamlet) This quotation clearly shows that Hamlet is conscious of the situation, and will pretend to be mad. But, there is other evidence that may lead one to think about whether or not Hamlet may have actually been slightly mad. For instance, it strikes one as odd that Hamlet waits so long, and goes through so much trouble in order to kill King Claudius. Hamlet wa... ...alyze the work, or use what others have understood from analyzing Hamlet themselves to draw conclusions and gain an in-depth understanding of what the character is going through from a psychological perspective. There are endless sources out there than can be used as references to support this sort of inquiry. It all comes down to comprehending the work and the perspective. It’s not necessary to scrutinize the inner workings of the play in order to enjoy it, it never has been. Sometimes it’s not until the second or third, or even fourth reading that the reader begins to ask the more advanced questions and demand more of the text. Once that is accomplished, the rest is a proverbial piece of cake. Works Citied Shakespeare, William. â€Å"Hamlet: Prince of Denmark.† Literature: Reading Fiction, Poetry, and Drama. Comp. Robert Deyanni. Boston; McGraw-Hill, 2000. 941-1042. Paredes-vonOyen, Erin. Has Hamlet Gone Crazy?. 26 October. 2000 . Takahashi, Yasunari. â€Å"Speech, Deceit, and Catharsis: A Reading of Hamlet.† Hamlet and Japan. Ed. Yoshiko Uà ©no. Hamlet Collection 2. New York: AMS, 1995. 3-19. Adair, Vance. â€Å"Rewriting the (S)crypt: Gazing on Hamlet’s Interiors.† Q/W/E/R/T/Y 6 (1996): 5-15.

Oral traditions Essay

Many ancient scholars believed Africa had no history prior to colonialism because there was no documented evidence. Professor A.P. Newton, who was a distinguished British historian in the early 20th century, believed that there was no African history because most of the African society was illiterate before the European intrusion. ‘History’, he said, ‘only begins when men take to writing.’ He, as well as others who had the same opinion, failed to realize that African communities existed long before colonialism and so had their own history, even though it had not been put into writing at the time. Oral traditions have played and continue to play important roles in the history of Africa as well as its present. Songs, folklores, superstitions, etc. are just some of the things that have been passed from generation to generation orally. We see the evidence of some of these superstitions in J.P. Clark’s _Abiku_ as well as Wole Soyinka’s _Abiku_. Both poems are based on traditional superstitions and it is evident from the title, _Abiku_, which is a word from the Yoruba language of Nigeria that is used to describe a child that dies and is reborn, usually multiple times. It is believed that such children are not of the human world, but rather belong to the spirit world and so they keep going back and forth from one world to the other unless the child’s family is able to make the child stay in the human world, using traditional methods most times. These beliefs and actions are results of oral traditions and, even with the rise of western education in Yoruba communities and Nigeria in general, continue to be upheld by some people. Clark and Soyinka are evidence of the continued dependence and belief in oral traditions by a lot of Africans, even after extensive western  education. These Africans could be doing this as an indirect rebellion against western ideas and principles that have sought to ridicule and destroy African culture. During the colonial era, the Europeans did their best to destroy African culture, especially those that had to do with superstitions and religious beliefs that did not correspond with western principles. Concepts like reincarnation were frowned upon heavily by the European missionaries seeking to change the religious beliefs of Africans and since most aspects of life were based on religion at the time, changing one’s religious beliefs meant changing one’s political, social and economic beliefs as well. However, with the rise of cultural nationalisms, Africans began to reject European standards as the ideal and focus on bringing African culture back to the forefront. Hence, we see Soyinka and Clark as well as many other African poets bringing their cultural superstitions to their literary works, even though most of the m are written in European languages. In Soyinka’s _Abiku_ poem, almost every line is made up of cultural beliefs and practices as they relate to the _Abiku_ child. He even dips into non-African oral traditions in the line that says, â€Å"remember/ this, and dig me deeper still into/ the god’s swollen foot.† (14-16). Here, Soyinka is referring to Oedipus, the Greek mythological figure, and his use of this in his poem suggests that he wants to show that oral tradition is not just an African phenomenon but rather, exists in different cultures all around the world. While, he doesn’t expand on this line, it is important because it stands out from the rest of the poem as it is not connected to Yoruba tradition at all and it makes known to its readers the fact that oral traditions are universal. Also, Soyinka writes his poem from the subject’s point of view as a means of humanizing the character. The concept of _Abiku_ is usually explained as an other- worldly phenomenon, which made it easier for a lot of people to disassociate themselves with the idea. However, Soyinka writes his poem in first person in order to make known to people the fact that _Abiku_ children do exist and they are, in fact, human beings. He brings the _Abiku_ child to the forefront and though the rhetoric is tinged with superstitions and  cultural traditions, the fact that it is being told from the child’s perspective is a humanizing effort. There is no doubt that the poem emphasizes cultural and spiritual notions, especially through the child, however, the poem’s use of words like â€Å"Mothers† (line 26) paints a human picture in the minds of the readers. The juxtaposition of spiritual and human language used in the poem lets the readers know that both the spiritual and the human are present in this _Abiku_ child. Therefore, the poet brings to light the idea that the spiritual i.e. traditional and the human i.e. rational can exist and coincide with one another. He is saying that African culture can exist side by side with western culture and one doesn’t have to diminish the other, which is the direct opposite of what was preached by European missionaries. Also, it is important to note that these two poets as well as most African writers are invested in the concept of Africanism. Keeping African cultures alive is important and we see the poets using their poems to remind Africans and the world in general that African culture still exists and has not been destroyed by urbanization. Oral traditions have never been completely accepted as adequate sources with which to make any kinds of analyses because of the fickle nature of the human memory and so, writing these poems allows the poets show the readers that the culture is still there and these stories and beliefs have not been forgotten. It was important for Africans in historical times to repeatedly acknowledge the oral traditions so they would not forget any parts of it and this is also one of the reasons why African writers usually add some elements of oral tradition into their works. A lot of African communities did not have any means of recording their culture for future generations so they just made sure the younger generations became aware of these traditions from the early stages of their lives so these traditions became engrained in their minds by the time they were adults. However, with the colonization of Africa, a lot of Africans are now able read and write these oral traditions and because of this easy access, a lot of Africans have become unaware of a lot of cultural traditions that would have been passed orally. So, the writers include oral traditions in their written works to bring these stories, beliefs, practices, etc. back into the minds of Africans and the world. This is why  Soyinka and Clark include some traditional processes in their poetry. Soyinka writes about the charms that people believed would keep the _Abiku_ child from going back to the spirit world†¦ â€Å"Must I weep for goats and cowries/for palm oil and sprinkled ash?† He takes the reader into the world of the _Abiku,_ using cultural rituals, which then reminds the Africans who had forgotten and informs those who were not privy to this information initially. Clark takes his readers into the immediate environment of the _Abiku_ child, both the physical environment and the spiritual environment†¦ â€Å"Do stay out on the baobab tree/follow where you please your kindred spirits/if indoors is not enough for you.† In conclusion, oral traditions are very important in African culture as well as other cultures around the world and the use of written language in passing oral traditions has been helpful in bringing forgotten histories back into the minds of its people. BIBLIOGRAPHY Fage, J. D., and British Broadcasting Corporation. Africa Discovers Her Past. London: Oxford University Press, 1970. Henige, David P. The Chronology of Oral Tradition: Quest for a Chimera. Oxford: Clarendon Press, 1974. Adesanmi, Pius. You’re Not a Country, Africa: A Personal History of the African Present. Johannesburg: Penguin Books (South Africa), 2011.

Separation Anxiety Disorder

Separation anxiety disorder is a mental health disorder that begins in childhood and is characterized by worrying that is out of proportion to the situation of temporarily leaving home or otherwise separating from loved ones. Approximately 4%-5% of children and adolescents suffer from separation anxiety disorder. Separation Anxiety Disorder is more common in children with family histories of anxiety. Also, children whose mothers were stressed during pregnancy with them tend to be more at risk for developing this disorder.A majority of children with separation anxiety disorder have school refusal as a symptom and up to 80% of children who refuse to go to school qualify for the diagnosis of separation anxiety disorder. Approximately 50%-75% of children who suffer from this disorder come from homes of low socioeconomic status. The Physical effects and symptoms of Separation Anxiety Disorder are: orepeated occurrence of physical symptoms (nausea, stomachache, headache, vomiting, etc. on occasions that involve separation from a major attachment figure, such as leaving home to go to school; opersistent reluctance or refusal to go to sleep without being near or next to a major attachment figure; oExcessive, recurrent distress (as shown by anxiety, crying, tantrums, misery, apathy, or social withdrawal) in anticipation of, during, or immediately following separation from a major attachment figureSocial effects and symptoms are: persistent reluctance or refusal to go to school because of fear about separation There are no immediate effects on the spiritual dimension of health Psychological effects and symptoms of separation anxiety are: orepeated nightmares about separation; opersistent inappropriate fear of being alone at home during the day; oan unrealistic, preoccupying worry about possible harm befalling major attachment figures or a fear that they will leave and not return; oan nrealistic, preoccupying worry that some untoward event, such as the child being lost, k idnapped, admitted to hospital, or killed, will separate him or her from a major attachment figure; If left untreated, Separation anxiety disorder puts its sufferers at risk for depression and anxiety problems as adults, as well as personality disorders, in which anxiety is a major symptom. Teenage separation anxiety is not as common as separation anxiety in younger children, however, it does exist.Most cases of teenage separation anxiety have an earlier onset that went undiagnosed, but some recent case studies suggest there are some teens and young adults that have all the symptoms and a later onset. You can imagine how disruptive this could be to a teen’s life! Not only may these feelings prevent them from going to school, but from working, having normal social and peer relationships, and accomplishing the everyday activities of normal adolescents.