Multiple Personality Disorder (MPD) Essay - 1153 Words

Multiple Personality Disorder (MPD) Introduction: Multiple personalities is a dissociative condition in which an individual’s personality is apparently split into two or more distinct sub-personalities, each of which may become dominant at different times. People with multiple personality disorder suffer from internal chaos, roller-coaster emotions and terrible memories. They also present confusing confusing and contradictory images to their family and friends. But in spite of all this, MPD is a treatable disorder. In theory, the developmental process behind MPD is a result of resorting to a mental escape from a traumatic situation. This is essentially achieved when neither fleeing nor fighting can be used as a defense option,†¦show more content†¦These other personalities are called â€Å"alters† and may develop permanency, so that the identity of a single child fragments into many children in a single body. These abused children are often warned by their abusers to maintain secrecy. Therefore horrid memories get buried deep into the caves of the unconscious, each alter shielding his or her own traumatic memory. This also allows each alter to become more independent. Multiple personality disorder is very rare and is only found in about one percent of the population. It is also believed that seven percent of the population has experienced at least some sort of dissociative disorder in their life. Certain feelings are common to people with multiple personalities. Most MPD individuals usually suffer from unreasonable fear, and this fear often evolves into terror. They also have large blocks of missing memories. Some symptoms of MPD are depression, anxiety, excessive compulsive behaviour, seizures, epilepsy, blackouts, headaches, and fatigue. Multiple Personalities is not just one disorder, but is made up of many different dissociative disorders. Treatment: There is no real cure for multiple personality disorder, the only treatment is forcing the repression of the alter personalities. The first step in treating this disorder is to find a psychotherapist who is familiar with dissociative disorders and who has taken special training inShow MoreRelatedMultiple Personality Disorder ( Mpd )1498 Words   |  6 Pagesarchives of psychiatry, Multiple Personality Disorder (MPD) is now known as Dissociative Identity Disorder (DID) is a very auspicious topic (Dorahy, Brand, Sar, Kruger, Stavropoulos, Martines Middleton, 2014). DID can be defined by a single individual carrying around two or more alternate personalities (that is alters) (Boysen VanBergen, 2013). The criteria for DID is amicable by the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders, fourth edition (DSM-IV)Read MoreMultiple Personality Disorder (MPD) Essay example756 Words   |  4 Pages Multiple Personality Disorder (MPD) Dissociative Identity Disorder (DID) nbsp;nbsp;nbsp;nbsp;nbsp;Multiple Personality Disorder (MPD), which is now called Dissociative Identity Disorder (DID), is a Dissociative Disorder. This disorder is when a person has two or more distinct personalities that often control the person’s behavior. This disorder has many controversies because of the fact that it is not scientifically proven. nbsp;nbsp;nbsp;nbsp;nbsp;One personality is usually restrainedRead MoreEssay about Multiple Personality Disorder (MPD):1429 Words   |  6 PagesMultiple Personality Disorder (MPD): Have you ever been sitting day dreaming, or got lost in a book or work? After you finish the book or your work, you come back to earth and remember what occurred while you were day dreaming or lost in that book or work. With a person that has MPD, it is not that easily done with most. Most individuals that have MPD do not remember anything that had occurred within hours or minutes of the event. Some think MPD is a hoax created by movies such as â€Å"Three facesRead MoreMultiple Personality Disorder Essay1635 Words   |  7 PagesMultiple Personality Disorder Multiple Personality Disorder (MPD) is a mental disease that exists in about one percent of the population. Much research supports the existence of this disease and its origins, causes and effects on the people in who suffer with it. This essay will clearly define Multiple Personality Disorder along with a detailed synopsis of the disease itself. The diagnosis, alter personalities, different treatments and views will indicate the disease is real. The AmericanRead MoreMultiple Personalities Disorder Analysis1037 Words   |  5 PagesMultiple Personality Disorders (MPD), or what has been re-classified, Dissociative Idenitfy Disorder (DID), is a deliberating and frightening illness for the DID individual; as well as their friends and family. The meaning of DID (Dissoiative Idenity Disorder) usually means that a person has more than two self-states or identities, which often times appear like entirely different personalities. When one is under the control of one identity, the person usually is unable to remember some of the eventsRead MoreMultiple Personality Disorder1415 Words   |  6 Pageswe do still come back to reality. However, some people are diagnosed with a dissociative identity disorder or the popular multiple personality disorder (MPD). This differ from mild dissociation that all of us commonly experience. People who have this live a fairly complicated life. Sadly, people who have this experience traumatic physical, sexual or emotional abuse during their childhood. MPD is a severed form of dissociation from reality in which it reflects a person’s extreme lack of connectivityRead MoreMultiple Personality Disorder1423 Words   |  6 Pageswe do still come back to reality. However, some people are diagnosed with a dissociative identity disorder or the popular multiple personality disorder (MPD). This differ from mild dissociation that all of us commonly experience. People who have this live a fairly complicated life. Sadly, people who have this experience traumatic physical, sexual or emotional abuse during their childhood. MPD is a severed form of dissociation from reality in which it reflects a person’s extreme lack of connectivityRead MoreDissociative Identity Disorder ( Mpd )921 Words   |  4 PagesWhen most people think of mental disorders, many tend to think of depression, bipolar disorder, or even Post Traumatic Stress Disorder (PTSD). The one thing these three disorders have in common is they all can be associated with a disorder called Multiple Personality Disorder (MPD). A person with MPD â€Å"behaves as if under the control of distinct and separate parts of the personality at different times† (Bull). As research has advanced on the studying of MPD, researchers have deemed the official diagnosticRead MoreThe Theory Of Multiple Personality Disorder1486 Words   |  6 Pageslocation, name, age, or their entire identity (Residential). This could be multiple personality disorder- or MPD for short. Multiple personality disorder was first thought to be nonexistent, or extremely rar e, but now after thousands of diagnoses (Carter), multiple personality seems to be in the in the spotlight of psychological disorders. Though multiple personality disorder only became a legitimate psychiatric disorder in 1980, there had been cases reported before then. Various individuals believeRead MoreThe Three Faces Of Eve Essay1188 Words   |  5 Pagesintended to inform its reader about Multiple Personality Disorder and whether it is fact or fiction. This paper was intended to be contrived after watching the film â€Å"The Three Faces of Eve†, directed by Nunnally Johnson in 1957. The star of the film, Joanne Woodard, portrays the title character Eve White, who acts through the separate personalities of Eve White, Eve Black, and Jane. Despite the doctors in the film being able to explain Multiple Personality Disorder, the question still arises today as

Stricter Strict Regulations For Tobacco Control Essay

The need to enforce stricter regulations for tobacco control by local communities and individual states is the health policy issue being analyzed. According to The Healthy People (2010) tobacco use and the availability of its products are harmful to our population in various ways, ranked as one of the top ten leading indicators for health concern. The addictive nature of tobacco has created a high demand for their products, boosting the tobacco industry s profits tremendously, and states gaining revenue from taxation on it has contributed to the issues and reasoning states lack enforcing stricter controls. Regulations have been set in place from the federal government in efforts to control tobacco regulation gaining some control over distribution.The federal government s actions and implementations have affected the tobacco control authority of state and local governments. The need for additional stricter regulations and laws by individual states are needed to reduce the tobacco co nsumption for their targeted populations. The tobacco industry has been working to influence the personal behavior of individuals as well as in national structures which extend across disparate government sectors to use tobacco products despite the known risks. Since interaction is prohibited between the federal government and the tobacco industry by the World Health Organisation Framework Convention on Tobacco Control (WHO FCTC) and the Civil Service Commission – Department of Health JointShow MoreRelatedThe Main Influence Of Government And The Idea Of Democracy1530 Words   |  7 PagesDebate starts with the Founding Fathers pondering about the system of government. The Democratic Debate is the clash of ideas between elite democracy: a group of elites running the a small government versus popular democracy: big government control in the society. 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Summary Free Essays

She compares guns to cars saying that we have high her standards when it comes to licensing people to drive than we have for people to own a gun, the cough a car can be considered a lethal weapon. Throwing the quote â€Å"guns don’t kill people† out t he window, she makes the argument that many less family feuds would lead to death if only t here hadn’t been a gun in the house. She says that the people who study martial arts, who can lit really kill with bare ands, have been through years of training and discipline but that anyone ca n pick up a gun and kill with it. We will write a custom essay sample on Summary or any similar topic only for you Order Now She believes that at the very least people who have guns should be trained, disciplined and have the same restrictions as those in England because, in her view, having a gun is literally the power to kill. She insists that â€Å"gun nuts† have a power hang up a ND that no sane society would allow the use of guns to continue. In her very last, amusing word ads she insists that we ban all guns and get dogs for protection. How to cite Summary, Papers

Annie Dillards Pilgrim at Tinker Creek Essay Example For Students

Annie Dillards Pilgrim at Tinker Creek Essay Annie Dillard opens Pilgrim at Tinker Creek mysteriously, hinting at an unnamed presence. She toys with the longstanding epic images of battlefields and oracles, injecting an air of holiness and awe into the otherwise ordinary. In language more poetic than prosaic, she sings the beautiful into the mundane. She deifies common and trivial findings. She extracts the most high language from all the possible permutations of words to elevate and exalt the normal. Under her pen, her literary devices and her metaphors, a backyard stream becomes a shrine. Writing a prayer, Dillard becomes an instrument through which a ubiquitous spirit reveals itself. Yet in other cases, she latches on to an image of holiness and makes it ugly, horrifying, disturbing, as if to suggest that the manifestation of all that is holy need not always be pretty, that the gorgeous and the gruesome together comprise all that is holy, and without one the other would be meaningless. The written words are a spiritual pilgr image to the holy shrine where language tinkers with itself, makes a music unto itself, chips and shapes itself into the stuff of Dillards essays. Religious overtones score the text, emerging as references to Islam, Hasidism, and to a lesser extent, Christianity; there are also subtle intimations of mysticism. Dillard plucks the title of the first essay, Heaven and Earth in Jest, from the Quran, quoting Allah directly. Describing the darkness capping the ocean as a swaddling band for the sea (7), a repeated phrase, her diction implies the Christ child. She makes a power evident without ever saying so aloud, explicitly, by naming it. By means of archaic phrasing, she conveys the sense that what she writes carries the weight of authority and the penetration of faith. Noting the irony of our inability to stare directly into the face of our only source of light, our one source for all power (23), Dillard points out in Seeing that we all walk about carefully averting our faces,. . .lest our eyes be blasted forever (23). She alludes here to the monotheistic concept of the taboo gaze, the forbidden direct stare into the face of God. I n the preceding paragraph, she discover the mystery (22) of the clouds. Able to perceive them only in the reflective water below, blind to the originals that cast the duplicates, she wonders if maybe the ark of the covenant was just passing by (22). The trunk in which Moses stored the Ten Commandments also provided the throne of God within the Tabernacle; he presides from atop the ark between two cherubim, in unapproachable light (I Timothy 6:16, Psalm 104:2). As they avoid pronouncing the name of God, believers must also shy away from this brightness. Dillard evokes these mystical taboos to express the irony of human love. Elsewhere she tells the story of a moth consumed by a flame, calling to mind the Sufi symbol for mortal love and the mystical path spiked with danger. The religious symbols also provoke ideas of spirituality that elevate the significance of Dillards worldly visions. The references are vital, because her experiences in nature do not connote spiritual presence as t hey once did. As GaryMcIlroy points out in Pilgrim at Tinker Creek and the Burden of Science, American nature writing used to involve pure wilderness on the frontier, the edge of the known world. But instead of Leo Marxs machine in the garden (71), an industrial interruption of the idyllic, Dillards writing reveals a shift in the Thoreauvian tradition, where a sudden dislocation. . .is more likely to be the unexpected onslaught of the natural world into the civilized one-the monster in the Mason jar (71). At an earlier point in the history of this style of writing, religious presence was an inherent and indisputable element in the natural world. At the time of Dillards writing, however, this aspect is no longer assumed; it must be stated outright, boldly returned to the arena, reintegrated, invited back into a world where roaring motorcycle tread marks stitched the clay (48) have exiled heavenly thoughts. She layers different styles of writing over one another, painting an arresting array of essays. In one phrase in Winter, she begins prosaically, claiming to have seen those faces, when the day is cloudy, and have seen at sunset on a clear day houses, ordinary houses (39). Then, mid-sentence, she waxes rhythmic, poetic, describing those houses whose bricks were coals and windows flame (39). In Fixed, articulating her fascination with bugs, she blurts out that insects . . .gotta do one horrible thing after another (63). Later, she bluntly berates, You aint so handsome yourself (65). But then she juxtaposes the lilting arabesque and grand jetÃÆ'Â © a frantic variation on our one free fall (68). She, like the giant water bug sucks out the victims body (6) in Heaven and Earth in Jest, sucks out the juice of language. She devour prey alive (6), extracts from all the possible permutations of phrasing the most stunning, the most contrastive, the most arresting language in order to catch at the throat, to catch the eye, to flash a mirror in the face of the reader. Dillard reads into her world duality, and reflects these pairs in Pilgrim at Tinker Creek. Much like the interplay between prose and poetry, a visual give and take between detail and immensity floods these essays. Like the lens of a camera, Dillards writing zooms in and out, capturing the minute and the massive, the infinitesimal and the infinite. Sitting by a sycamore down at the creek in The Present, Dillard enumerates the life below the surface of the soil, the world squirming right under palms (94). She details the microscopic population (94), the moles intricate tunnels in networks (95), the mantle of fungus wraps the soil in weft, shooting out blind thread after frail thread of palest dissolved white (96). Then the author lurches back, draws out the frame, focuses on the universe, the galaxy is careening in a slow, muffled widening, the suns surface is now exploding, the meteorites are arcing to earth invisibly all day long (97). She pushes in toward the tiniest imaginable life, toward one wild, distant electron (70), and then pulls out to the grandest, to deep space with its red giants and white dwarfs (70), in an attempt to locate herself within it, to effect a self-consciousness that is neither too cocky nor too meek. She honors both worlds linguistically, admitting that insects make up the bulk of our comrades-at-life, so look to them for a glimmer of companionship (64), and confers life-like attributes to cold inhuman outer space, naming the five mute moons of Uranus (70), finding the rare instance in which one may feel warmth from the moon (71). Seeing by Annie Dillard and Our Perception of the World EssayDillards essays are studded with participles that mysteriously lack agents. The cloud ceiling (43) in Winter depart as if drawn on a leash (43). What master draws this dog? The starlings of Winter fly like a loosened skein (40). They make a sound of beaten air, like a million shook rugs (40). Who unravels the yarn? What housewife beats the air, pounds the rugs? After a vision, a revelation, Dillard finds she had been whole life a bell, and never knew it until at that moment was lifted and struck (34). What generous hand (15) lifts and strikes? Dillard is the call to prayer, and the reader is the worshipper of beauty, of mystery, of poetry. Placing herself as the bell, the instrument, the arrow shaft, carved along length by unexpected lights and gashes from the very sky (12), she waxes self-reflexive, shifting the deity from spirit to author, and the worshipper from author to reader, offering this book the straying tra il of blood (12). She expresses clearly the mystery, the unknown, in an active voice with a necessarily vague agent: Something pummels us, something barely sheathed. . .Were played on like a pipe (13, emphasis mine). The language of the metaphors clearly communicates the dark and dangerous nature of the spiritual. Drawing on the literature that accompanies her solitary days, Dillard relates Arctic stories that horrify, that redeem. She tells of a wolf caught by a knife stuck in the snow and covered in blubber by an Eskimo; the beast sliced his tongue to ribbons, and bled to death (42). She tells the spare, cruel story (41) of a man who fed his family by axing the bodies of frozen gulls off the layer of a lakes ice, leaving the ice. . . studded with paired, red stumps (42). She discusses starlings, a Shakespearean bird, but turns their poetic loveliness awful by dredging up their stink,. . .droppings, and lice (42). By taking hold of the terrible and exposing it to the same language and thought that she wields to the lovely, she rouses the realization that the ugly and the horrible must also be holy. Unlike the fake firewood advertised as The romance without the heartache' (41), Dillards writing stimulates precisely because it does not shy away from the sweat and labor of chopping wood. Her vi sion of the sacred embraces both the sweet and the sickening, the romance and the heartache, and would be otherwise unbalanced. Pilgrim at Tinker Creek itself reflects this balance, in form and in content. McIlroy sees the tension in Dillard as an extension of the same in Thoreau, namely one of science versus theology. He claims that Dillards attraction to science. . .ultimately provides the biggest obstacle to her spiritual pilgrimage, to her transcendental aspirations in the woods (75). As evidence, he cites her excursions into the entomological domain and her disturbing. . .observations of (75), detailing her witness of the giant water bug that drains the small frog. While Dillard certainly delves into the grotesque aspects of the woods by the creek, and illuminates the shadowy dealings among insects, fungi, and teeming bacteria, she does not set these images against the other, more beautiful worlds she finds. It is not a contest between two diametrically opposed camps, where religion must battle with science as McIlroy suggests. Rather, the giant water bug of Heaven and Earth in Jest, the fetid starlings and dismembered gulls of Winter, Shadow Creek, a creepy alter ego of Tinker C reek in The Fixed, all have a place within the authors vision of sanctity. The world Dillard has built out of Tinker Creek is one in which heaven and hell reside simultaneously, not without contradiction and counterforce, but inclusively; the harrowing strides swiftly beside the serene, and Dillard hallows both. John Kinch, also, in a review of Scott Slovics article entitled Seeking Awareness in American Nature Writing, says that Slovic finds the essential dialectic in nature writing to be the self confronting the separate realm of nature: by becoming aware of its otherness, the writer implicitly becomes more deeply aware of his or her own dimensions (4) (194). On the contrary, Dillard becomes more aware of her own dimensions in as much as they parallel the other worlds, that of insects, trees, the living creek. She seeks not to contrast but to harmonize her own existence with theirs, linking and stitching them together, finding allies in the dirt. In the prototypical struggle between science and religion, knowing pits itself against faith. Dillard complicates the Biblical concept of knowing, intertwining it with innocence. The Bible fiercely juxtaposes the two, allowing no confusion between them: knowing is the opposite of innocence for Adam, Eve, and the snake. Dillard loops back on one another the two ideas. Like the ringed snake she encounters in Untying the Knot, she turn right-side out (73) the ideas that the Bible segregates. The snake was a loop without beginning or end (73). Like the knotted snakeskin, Dillard aligns knowing with innocence, and hence science with spirituality; both are continuous loops (74). In The Present, she counters the idea of innocence as childlike, asserting that one neednt be, shouldnt be, reduced to a puppy (82). She defines innocence as the spirits unself-conscious state at any moment of pure devotion to any object. It is at once a receptiveness and total concentration (82), combining the lex icon of religion and mystical journey to elucidate how awareness and knowledge can integrate with openness to fulfill the state of innocence. McIlroy understands her pages of scientific and mystical experience in a two-dimensional way, leaving unturned the third dimension where a seeming dichotomy merges and seams together opposites in a contiguous loop designed to illustrate a coherent and encompassing exploration of the outer world of the creek and the inner world of the mind. Works Cited Dillard, Annie. Pilgrim at Tinker Creek. New York: Quality Paperback, 1974. McIlroy, Gary. Pilgrim at Tinker Creek and the Burden of Science. American Literature 59 (1987): 71-84.