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ar:تطوّر (توضيح) ca:Desenvolupament cs:Vývoj da:Udvikling (flertydig) es:Desarrollo eu:Garapen (argipena) fr:Développement ko:개발 id:Perkembangan it:Sviluppo nl:Ontwikkeling no:Utvikling pt:Desenvolvimento ro:Dezvoltare (dezambiguizare) simple:Development sk:Vývoj sv:Utveckling
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 37°46′45.48″N122°25′9.12″N |
|---|---|
| Name | Wayne Dyer |
| Birth date | May 10, 1940 |
| Birth place | Detroit, Michigan USA |
| Residence | Maui, Hawaii |
| Occupation | teacher, author |
| Spouse | Marcelene Dyer}} |
Dyer proceeded to build on his success with lecture tours, a series of audiotapes, and regular publication of new books. Dyer's audience was not limited to business as with Dale Carnegie or Stephen Covey, and so his message resonated with many in the New Thought Movement and beyond. He often recounted anecdotes from his family life, and repeatedly used his own life experience as an example. His self-made man success story was a part of his appeal. Dyer told readers to pursue self actualization, calling reliance on the self as a guide to "religious" experience, and suggested that readers emulate Jesus Christ, whom he termed both an example of a self-actualized person, and a "preacher of self-reliance". Dyer criticized societal focus on guilt, which he saw as an unhealthy immobilization in the present due to actions taken in the past. He advocated readers to see how parents, institutions, and even they, themselves, have imposed guilt trips upon themselves.
Although Dyer resisted the spiritual tag, by the 1990s he was altering his message to include more components of spirituality, in ''Real Magic'', and higher consciousness, in ''Your Sacred Self''. Currently, his focus is on interpretations of Tao Te Ching and he has many U.S. speaking engagements.
== P
"Religion is orthodoxy, rules and historical scriptures maintained by people over long periods of time. Generally people are raised to obey the customs and practices of that religion without question. These are customs and expectations from outside the person and do not fit my definition of spiritual."
On May 24, 2010, author Stephen Mitchell, husband of bestselling New Age author Byron Katie, sued Dyer for plagiarism, accusing him of taking 200 lines of his interpretation of the Tao Te Ching for Dyer's books ''Living the Wisdom of the Tao'' and ''Change Your Thoughts -- Change Your Life''.
Category:1940 births Category:Living people Category:American metaphysics writers Category:American motivational writers Category:American motivational speakers Category:American psychologists Category:American self-help writers Category:American spiritual teachers Category:American spiritual writers Category:Writers from Michigan Category:New Thought writers Category:Wayne State University alumni
ar:واين داير az:Veyn Dayer de:Wayne Dyer el:Γουέιν Ντάιερ es:Wayne Dyer fa:وین دایر it:Wayne Walter Dyer nl:Wayne Dyer pl:Wayne W. Dyer pt:Wayne Walter Dyer ro:Wayne Dyer sv:Wayne DyerThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
The term comes from the title character of Harriet Beecher Stowe's 1852 novel ''Uncle Tom's Cabin''. Critical and popular views of both the character and the novel have shifted over time, leading to a shift in the term's use.
The novel was very influential and commercially successful, first published in serial form in 1851-1852 and in book version from 1852 onward. An estimated 500,000 copies of the novel itself had sold in the United States and internationally by 1853, including unauthorized reprints. Senator Charles Sumner credited ''Uncle Tom's Cabin'' for the election of Abraham Lincoln and Lincoln himself reportedly quipped that Stowe had triggered the American Civil War. Frederick Douglass praised the novel as "a flash to light a million camp fires in front of the embattled hosts of slavery". Despite Douglass's enthusiasm, an anonymous 1852 reviewer for William Lloyd Garrison's publication ''The Liberator'' suspected a racial double standard in the idealization of Uncle Tom:
:Uncle Tom’s character is sketched with great power and rare religious perception. It triumphantly exemplifies the nature, tendency, and results of CHRISTIAN NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the duty of non-resistance for the White man, under all possible outrage and peril, as for the Black man… [For whites in parallel circumstances, it is often said] Talk not of overcoming evil with good—it is madness! Talk not of peacefully submitting to chains and stripes—it is base servility! Talk not of servants being obedient to their masters—let the blood of tyrants flow! How is this to be explained or reconciled? Is there one law of submission and non-resistance for the Black man, and another of rebellion and conflict for the white man? When it is the whites who are trodden in the dust, does Christ justify them in taking up arms to vindicate their rights? And when it is the blacks who are thus treated, does Christ require them to be patient, harmless, long-suffering, and forgiving? Are there two Christs?
James Weldon Johnson, a prominent figure of the Harlem Renaissance, expresses an ambivalent opinion in his autobiography:
:For my part, I was never an admirer of Uncle Tom, nor of his type of goodness; but I believe that there were lots of old Negroes as foolishly good as he; the proof of which is that they knowingly stayed and worked on the plantations that furnished sinews for the army which was fighting to keep them enslaved.”
In 1949 American writer James Baldwin rejected the emasculation of the title character "robbed of his humanity and divested of his sex" as the price of spiritual salvation for a dark-skinned man in a fiction whose African-American characters, in Baldwin's view, were invariably two dimensional stereotypes. To Baldwin, Stowe was closer to a pamphleteer than a novelist and her artistic vision was fatally marred by polemics and racism that manifested especially in her handling of the title character. Stowe had stated that her sons had wept when she first read them the scene of Uncle Tom's death, but after Baldwin's essay it ceased being respectable to accept the melodrama of the Uncle Tom story. Uncle Tom became what critic Linda Williams describes as "an epithet of servility" and the novel's reputation plummeted until feminist critics led by Jane Tompkins reassessed the tale's female characters. According to Debra J. Rosenthal in an introduction to a collection of critical appraisals for the ''Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin'', overall reactions have been mixed with some critics praising the novel for affirming the humanity of the African American characters and for the risks Stowe assumed in taking a very public stand against slavery before abolitionism had become a socially acceptable cause, and others criticizing the very limited terms upon which those characters' humanity was affirmed and the artistic shortcomings of political melodrama.
Stowe drew inspiration for the Uncle Tom character from several sources. The best-known of these was Josiah Henson, whose autobiography was originally published in 1849 and later republished in extensively revised editions after the publication of ''Uncle Tom's Cabin''. Henson was enslaved at birth in 1789. He became a Christian at age eighteen and took up preaching. Henson attempted to purchase his freedom for $450, but after selling his personal assets to raise $350 and signing a promissory note for the remainder Henson's owner raised the price to $1000; Henson was unable to prove that the original agreement had been for a lesser amount. Shortly afterward Henson was ordered on a trip south to New Orleans, and when he learned that he was to be sold there he obtained a weapon and contemplated murdering his white companions, but decided against violence because his Christian morals forbade it. A sudden illness in one of his companions forced their return to Kentucky, and shortly afterward Henson escaped north with his family, settling in Canada where he became a civic leader.
Stowe read the first edition of Henson's narrative and later confirmed that she had incorporated elements from it into ''Uncle Tom's Cabin''. Kentucky and New Orleans figure in both Henson's narrative and the novel's settings, and some other story elements are similar.
In the public imagination, however, Henson became synonymous with Uncle Tom. After Stowe's death her son and grandson claimed she and Henson had met before ''Uncle Tom's Cabin'' was written, but the chronology does not hold up to scrutiny and she probably drew material only from his published autobiography.
Adapted theatrical performances of the novel remained in continual production in the United States for at least eighty years. These representations had a lasting cultural impact and influenced the pejorative nature of the term ''Uncle Tom'' in later popular use.
Although not all minstrel depictions of Uncle Tom were negative, the dominant version developed into a stock character very different from Stowe's hero. Stowe's Uncle Tom was a muscular and virile man who refused to obey when ordered to beat other slaves; the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair. To Jo-Ann Morgan, author of ''Uncle Tom's Cabin as Visual Culture'', these shifting representations undermined the subversive layers of Stowe's original characterization by redefining Uncle Tom until he fit within prevailing racist norms. Particularly after the Civil War, as the political thrust of the novel which had arguably helped to precipitate that war became obsolete to actual political discourse, popular depictions of the title character recast him within the apologetics of the Lost Cause of the Confederacy. The virile father of the abolitionist serial and first book edition degenerated into a decrepit old man, and with that transformation the character lost the capacity for resistance that had originally given meaning to his choices. Stowe never meant Uncle Tom to be a derided name, but the term as a pejorative has developed based on how later versions of the character, stripped of his strength, were depicted on stage.
Or as Claire Parfait, author of ''The Publishing History of Uncle Tom's Cabin, 1852-2002'' opines, the many alterations in retellings of the Uncle Tom story demonstrate an impulse to correct the retellers' perceptions of its flaws and "the capacity of the novel to irritate and rankle, even a century and a half after its first publication."
Category:Pejorative terms for people Category:Ethnic and religious slurs Category:American slang Category:Fictional slaves Category:American culture Category:Stereotypes of African Americans Category:Racism Category:African-American culture
de:Uncle Tom es:Tío Tom gl:Tío Tom nl:Uncle Tom no:Onkel Tom pt:Uncle TomThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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