The Influences Upon Steven Berkoff

The Influences Upon Steven Berkoff Upon studying Steven Berkoff as a practitioner I have always profoundly noted that his theories are very hard to define due to their ever changing and versatile nature. The lack of official documentation on Berkoffs theories makes it especially hard to fully comprehend what exactly the Berkovian performance style involves and dictates. Fortunately he has written a few journals which chronicle the rehearsal and creative process he has gone through for his various productions. Among these publications is Mediations on Metamorphosis (1995), a journal of Berkoffs time spent in Japan directing the tenth major production of Metamorphosis, and Coriolanus in Deutschland (1992) which chronicles the rehearsal process for his 1988 production of Coriolanus in Munich, Germany. However, these journals are primarily autobiographical and lack much theoretical context. In 1969, Steven Berkoff presented the debut of his adaptation of Frank Kafkas Metamorphosis at the Round House Theatre in London. Thi s production was significant because Berkoff serving for the first time as writer/adapter, director, and actor in a full-length project presented an aesthetic which would become identified as his artistic trademark. Metamorphosiscombined elements of Brechtian Epic Theatre by using actors to purposefully represent characters rather than become them; Antonin Artauds Theatre of Cruelty by breaking from traditional theatre texts and asking the actors to bare their inner thoughts as if they were human-sacrifices to create ritualistic theatre; Jean-Louis Barraults total-theatre by using all possible means to uncover the meaning conscious or otherwise of the play; and Jacques Le Coqs theories of mime, movement, masks, and ensemble, by using the performers to create the environment. Berkoff has also been seen to incorporate some of the visual techniques used in Kabuki, a highly stylized, highly rhythmic classicalJapanese form of theatre. Kabuki music rises about the body of the actor. I t does not impose itself upon the actor, but instead gives musical and rhythmic expression to his movement, and in doing so increases the flow of theatrical expressiveness toward the audience. (1974, p.113) Another aspect of Japanese Kabuki is evident in Berkoffs dealings with masks and face paint. Even though Berkoff appropriated production styles from others and adapted the spoken words from a novel, the end result was uniquely Berkovian. In Mediation of Metamorphosis (1995) Berkoff seems to somewhat challenge someone to define his style when he writes, More than ever I feel my work develop into a kind of school, not by rigid formula but by learning certain techniques which expand your ideology and communication skills. (1995, p.137) There are themes that have undeniably remained relatively constant throughout Berkoffs work, themes that can be seen as somewhat of a base to the Berkovian theoretical framework. These themes I speak of are routed mainly in the belief that the actors instincts should be trusted over all else and the job of theory is to help evoke these instincts. Berkoffs common themes of extensive physical expression, transformation, and over-exaggerated experimental emphasis upon the spoken word should therefore be used as a means to evoke and exaggerate the ac tor instincts when dealing with the character. The atmosphere is in the sound which should come from the throats of the actors. Therefore their sound can control and amplify their situation, since people make sounds as well as moving and speaking. This is total and human, and in this way you return to the actor his mimetic gifts and his oral expressiveness. At the same time one is seeing the situation in human terms, as a story told to us by players. (Gambit, 1978, p.17) Berkoff believes actors should create their own sounds and so breaks traditional mime conventions. Like many of Le Coqs students, Berkoff freely changes the pure form of mime to create his own individual style. Surprisingly Le Coq encourages this practice as it essential to his belief in allowing the actor to work as an individual, believing it is important to be open and not to copy the style of someone else because you will never be as good as he is. Each is better in his own style (Lust, p.106).In drawing from this extract it is clear that I believe Berkoff is often sometimes regarded too highly for originating his performance style when thinking in particular about his instruction of individual development. Most of his performance style is derived from Le Coq who has been proven to have firm roots in the practice of Commedia delle Arte. It seems that most of the Berkovian individuality stems from his Berkoffs own mannerisms. InModern and Post-Modern Mime, Thomas Leabhart summariz es the influences upon Le Coq: Lecoqsschool is one of those theatres that, rather than being a rsum of what has happened, has helped young performers find new directions and so revitalize the theatre. Lecoqs whole vision of the theatre is like Copeaus, remain on the fringes of the commercial theatre, not wanting to give themselves to it as it exists. They, like their teacher, work apart, preserve their artistic vision, nurture their strength, and steadily increase their power to influence the course of theatre history. (1989, p.101-102) Like Lusts definition of postmodern mime, Leabharts summary of Le Coqs influence is applicable to Berkoff. Previously in 1973, Berkoff and The London Group declared their own mission statement: To express drama in the most vital way imaginable; to perform at the height of ones powers with all the available means. That is, through the spoken word, gesture, mime and music. Sometimes the emphasis on one, sometimes on the other.(Theatre Quarterly, 1978, p.39) This philosophical statement is an ideal example of the constants that have remained throughout Berkoffs subsequent career; stylised movement, mime, exaggerated vocal work, direct address, asides, and improvisation are components of nearly every Berkovian performance. Berkoff expects actors to willingly sacrifice themselves physically and emotionally, ready to perform whatever tasks are necessary to illuminate the text. When dealing with texts, as a director, Berkoff does not seek to produce a literal reproduction of texts on stage. It rare to see Berkoff relying on the intent of the author, instead he uses the texts to relay his own ideas on stage. He hasnt denied this. He said himself said that his version of Hamlet (1979) was a dissection of the play (I am Hamlet, 1989), and his staging of Agamemnon was attempted as an analysis of the play rather than a realistic rendering. (2007, p.123) Berkoff predominantly always sees the set as his own responsibility as he believes that it is vital in accordance with his desired aesthetic and theoretical projection. Most of the time he is seen to use minimalist sets usually consisting of one stationary prop, a sofa or a table for example. He believes that any mental environment desired can be created using mime and so it is unnecessary for excessive use of props. Many of his works have been performed in tight close quarter environments with extensive use of glaring light and shadow which seek to emphasize the physical presence on stage. Forever on a quest for vitality Berkoff is very prone to break theatrical conventions, resulting in a style of heavily a contradictory nature. These contradictions are a spouse of his determination to see how I could bring mime together with the spoken word as its opposite partner, creating the form and structure of the piece (1995, p.53). Characteristics such as this can be easily traced to his training with Jacques Le Coq, whom Thomas Leabhart, author of And Post-Modern Mime (1989), as modern teaching mime to talk. (1989, p.101) To fuse these opposites, Berkoff relies on mime, a traditionally silent form, yet he cherishes the spoken word; his productions are very over-the-top energy wise yet depend on great subtlety; the actor should never show himself to be self-conscious yet his presented self is very much so; Berkoff carefully choreographs movement yet he encourages improvisation. Other sources of Berkovian theory is rooted in interviews and short articles (some of which Berkoff has written) which have been printed in various journals. One the most significant of these articles titled Three Theatre Manifestos. (1978) In an interview present in the Three Theatre Manisfestos (1978) Berkoff outlines his philosophy which, according to him, has changed little through the years; he summarizes his theories by stating: In the end there is only the actor, his body, mind and voiceThe actor exists without the playhe can improvise, be silent, mime, make sounds and be a witness. (1978, p.11) Another extract from Three Theatre Manifestos depicts Berkoff sounding remarkably similar to Antoni Artaud and his Threatre of Cruelty: Acting for me is the closest metaphor to human sacrifice on the stage; (1978, p.7) other echo the thoughts of Brecht By describing the accident, the witness becomes the accident; he is there reliving it. (1978, p.11) The visual elements of a Berkovian production are strikingly stark. Classical Greek theatre, Japanese Kabuki, and Vsevelod Meyerholds constructivism, are particularly influential on Berkoffs visual aesthetic.By mixing minimal sets with very theatrical costumes, masks, and lighting, the visual focus is on the actor. Though the costumes draw attention to themselves, they serve to emphasize the performer and help to create the environment and the characterization. To draw a conclusion on Berkoffs authenticity in theatre one must take at look at his work in a broader sense. Berkoffs contribution and influence upon theatre is clear, but his place as a name in history in questionable. Berkoffs performance aesthetic will undoubtedly always exist in various different forms but whether he will be credited with association is a question for future historians. However because his work is thoroughly grounded in the works of many famous theatre names his style will undoubtedly be incorporated into many future artists works knowingly or not. Bibliography: Berkoff, S (1995) Mediations on Metamorphosis, London: Faber and Faber Berkoff, S (1978) Three Theatre Manifestos.Gambit vol.32 p.7-21 Berkoff, S (1989) I am Hamlet. New York: Grove Weidenfeld, Interview with Anthony Claire.Anthony Claire Show. BBC Radio, London. N. dat. Berkoff, S (1996) Agamemnon and The Fall of the House of Usher. Oxford: Amber Lane Press Elder, B (1978) Doing the Inexpressible Uncommonly Well. Theatre Quarterly, p.37-43 Ernst, E (1974) The Kabuki Theatre, Hawaii, University of Hawaii Press Leabhart, T (1989) Modern and Post-Modern Mime. New York: St. Martins. Lust, A (2000) From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots, and Clowns: A Chronicle Of The Many Visages Of Mime In Theatre. Kent, Scarecrow. Keefe, J (2007) Physical theatres: A Critical Reader, London, Routledge

Dothea Orem Self-Care Theory

Dorothea Orem's Self-Care Theory This page was last updated on February 4, 2012 INTRODUCTION †¢Theorist : Dorothea Orem (1914-2007) †¢Born 1914 in Baltimore, US †¢Earned her diploma at Providence Hospital – Washington, DC †¢1939 – BSN Ed. , Catholic University of America †¢1945 – MSN Ed. , Catholic University of America †¢She worked as a staff nurse, private duty nurse, nurse educator and administrator and nurse consultant. †¢Received honorary Doctor of Science degree in 1976. †¢Theory was first published in Nursing: Concepts of Practice in 1971, second in 1980, in 1995, and 2001.MAJOR ASSUMPTIONS †¢People should be self-reliant and responsible for their own care and others in their family needing care †¢People are distinct individuals †¢Nursing is a form of action – interaction between two or more persons †¢Successfully meeting universal and development self-care requisites is an important compon ent of primary care prevention and ill health †¢A person’s knowledge of potential health problems is necessary for promoting self-care behaviors †¢Self care and dependent care are behaviors learned within a socio-cultural context DEFINITIONS OF DOMAIN CONCEPTSNursing – is art, a helping service, and a technology †¢Actions deliberately selected and performed by nurses to help individuals or groups under their care to maintain or change conditions in themselves or their environments †¢Encompasses the patient’s perspective of health condition ,the physician’s perspective , and the nursing perspective †¢Goal of nursing – to render the patient or members of his family capable of meeting the patient’s self care needs †¢To maintain a state of health To regain normal or near normal state of health in the event of disease or injury †¢To stabilize ,control ,or minimize the effects of chronic poor health or disability Health – health and healthy are terms used to describe living things †¦ †¢It is when they are structurally and functionally whole or sound †¦ wholeness or integrity. .includes that which makes a person human,†¦operating in conjunction with physiological and psychophysiological mechanisms and a material structure and in relation to and interacting with other human beings Environment environment components are enthronement factors, enthronement elements, conditions, and developed environment Human being – has the capacity to reflect, symbolize and use symbols †¢Conceptualized as a total being with universal, developmental needs and capable of continuous self care †¢A unity that can function biologically, symbolically and socially Nursing client †¢A human being who has â€Å"health related /health derived limitations that render him incapable of continuous self care or dependent care or limitations that result in ineffective / incomple te care. A human being is the focus of nursing only when a self –care requisites exceeds self care capabilities Nursing problem †¢deficits in universal, developmental, and health derived or health related conditions Nursing process †¢a system to determine (1)why a person is under care (2)a plan for care ,(3)the implementation of care Nursing therapeutics †¢deliberate, systematic and purposeful action, OREM’S GENERAL THEORY OF NURSING Orem’s general theory of nursing in three related parts:- †¢Theory of self care Theory of self care deficit †¢Theory of nursing system A. Theory of Self Care This theory Includes: †¢Self care – practice of activities that individual initiates and perform on their own behalf in maintaining life ,health and well being †¢Self care agency – is a human ability which is â€Å"the ability for engaging in self care† -conditioned by age developmental state, life experience sociocultural orientation health and available resources †¢Therapeutic self care demand – â€Å"totality of self care actions to be performed for some uration in order to meet self care requisites by using valid methods and related sets of operations and actions† †¢Self care requisites – action directed towards provision of self care. 3 categories of self care requisites are- oUniversal self care requisites oDevelopmental self care requisites oHealth deviation self care requisites 1. Universal self care requisites †¢Associated with life processes and the maintenance of the integrity of human structure and functioning †¢Common to all , ADL †¢Identifies these requisites as: oMaintenance of sufficient intake of air ,water, food Provision of care assoc with elimination process oBalance between activity and rest, between solitude and social interaction oPrevention of hazards to human life well being and oPromotion of human functioning 2. Developmental sel f care requisites †¢Associated with developmental processes/ derived from a condition†¦. Or associated with an event oE. g. adjusting to a new job oadjusting to body changes 3. Health deviation self care †¢Required in conditions of illness, injury, or disease . these include:– †¢Seeking and securing appropriate medical assistance Being aware of and attending to the effects and results of pathologic conditions †¢Effectively carrying out medically prescribed measures †¢Modifying self concepts in accepting oneself as being in a particular state of health and in specific forms of health care †¢Learning to live with effects of pathologic conditions B. Theory of self care deficit †¢Specifies when nursing is needed †¢Nursing is required when an adult (or in the case of a dependent, the parent) is incapable or limited in the provision of continuous effective self care.Orem identifies 5 methods of helping: oActing for and doing for others o Guiding others oSupporting another oProviding an environment promoting personal development in relation to meet future demands oTeaching another C. Theory of Nursing Systems †¢Describes how the patient’s self care needs will be met by the nurse , the patient, or both †¢Identifies 3 classifications of nursing system to meet the self care requisites of the patient:- †¢Wholly compensatory system †¢Partly compensatory system †¢Supportive – educative system †¢Design and elements of nursing system define Scope of nursing responsibility in health care situations †¢General and specific roles of nurses and patients †¢Reasons for nurses’ relationship with patients and †¢Orem recognized that specialized technologies are usually developed by members of the health profession †¢A technology is systematized information about a process or a method for affecting some desired result through deliberate practical endeavor, with or w ithout use of materials or instruments. Categories of technologies 1. Social or interpersonal †¢Communication adjusted to age, health status Maintaining interpersonal, intra group or inter group relations for coordination of efforts †¢Maintaining therapeutic relationship in light of psychosocial modes of functioning in health and disease †¢Giving human assistance adapted to human needs ,action abilities and limitations 2. Regulatory technologies †¢Maintaining and promoting life processes †¢Regulating psycho physiological modes of functioning in health and disease †¢Promoting human growth and development †¢Regulating position and movement in space OREM’S THEORY AND NURSING PROCESS †¢Nursing process presents a method to determine the self care deficits and hen to define the roles of person or nurse to meet the self care demands. †¢The steps within the approach are considered to be the technical component of the nursing process. †¢Orem emphasizes that the technological component â€Å"must be coordinated with interpersonal and social processes within nursing situations. Nursing Process Orem’s Nursing Process †¢Assessment †¢Diagnosis and prescription; determine why nursing is needed. analyze and interpret –make judgment regarding care †¢Design of a nursing system and plan for delivery of care †¢Production and management of nursing systemsStep 1-collect data in six areas:- †¢The person’s health status †¢The physician’s perspective of the person’s health status †¢The person’s perspective of his or her health †¢The health goals within the context of life history ,life style, and health status †¢The person’s requirements for self care †¢The person’s capacity to perform self care †¢Nursing diagnosis †¢Plans with scientific rationaleStep 2 †¢Nurse designs a system that is wholly or partly compe nsatory or supportive-educative. †¢The 2 actions are:- Bringing out a good organization of the components of patients’ therapeutic self care demands †¢Selection of combination of ways of helping that will be effective and efficient in compensating for/ overcoming patient’s self care deficits †¢Implementation †¢evaluationStep 3 †¢Nurse assists the patient or family in self care matters to achieve identified and described health and health related results. collecting evidence in evaluating results achieved against results specified in the nursing system design †¢Actions are directed by etiology component of nursing diagnosis †¢evaluationApplication of Orem’s theory to nursing process Therapeutic self care demandAdequacy of self care agencyNursing diagnosisMethods of helping Air Maintain effective respiration Water No problem Food maintain sufficient intakeInadequate Adequate InadequatePotential for impaired respiratory status P F fluid imbalance Actual nutritional deficit r/t nauseaGuiding & directing Teaching Providing physical support Hazards Prevent spouse abuse Promotion of normalcyInadequate InadequateP/F injury A/d in environment Shared housingPersonal development Guiding & directing Guiding & directingMaintain developmental environment Support  ¬ed normalcy in environment Prevent /manage dev threatInadequate InadequateActual delay in normal dev. R/T early parenthood Level of education Dev deficit r/t loss of reproductive organsGuiding & directing Providing psy support Providing physical, psy support Maintenance of health status Management of disease process Inadequate InadequateP/F contd. alterations in health status P/F UTIGuiding & directing, teaching Guiding & directing, teaching Adherence to med regimen Awareness of potential problemsInadequate InadequateP/F ? dherence in self catheterization & OPD RT Actual deficit in awareness of advisability of HRT & RT effectsteaching teaching Adjust to los s of reproductive ability & dev healthy view of illness Adjust life style to cope with change Inadequate InadequateActual threat to self image Actual self deficit in planning for future needs Providing psy support Guiding & directing OREM’S WORK AND THE CHARACTERISTICS OF A THEORY †¢Orem's theory ointerrelate concepts in such a way as to create a different way of looking at a particular phenomenon ois logical in nature. ois relatively simple yet generalizable ois basis for hypothesis that can be tested contribute to and assist in increasing the general body of knowledge within the discipline through the research implemented to validate them ocan be used by the practitioners to guide and improve their practice omust be consistent with other validated theories ,laws and principles Strengths †¢Provides a comprehensive base to nursing practice †¢It has utility for professional nursing in the areas of nursing practice nursing curricula ,nursing education administrat ion ,and nursing research †¢Specifies when nursing is needed †¢Her self-care approach is contemporary with the concepts of health promotion and health maintenance Limitations In general system theory a system is viewed as a single whole thing while Orem defines a system as a single whole, thing. †¢Health is often viewed as dynamic and ever changing. †¢The theory is illness oriented. RESEARCH ON OREM'S THEORY 1. Self-care requirements for activity and rest: an Orem nursing focus 2. Nursing diagnoses in patients after heart catheterization–contribution of Orem 3. Self-care–the contribution of nursing sciences to health care 4. Self-care: a foundational science 5. Orem's self-care deficit nursing theory: its philosophic foundation and the state of the science 6. Dorothea E. Orem: thoughts on her theory . Orem's theory in practice. Hospice nursing care 8. Solving the Orem mystery: an educational strategy 9. Orem's family evaluation REFERENCES †¢Ore m, D. E. (1991). Nursing: Concepts of practice (4th ed. ). St. Louis, MO: Mosby-Year Book Inc. †¢Taylor, S. G. (2006). Dorthea E. Orem: Self-care deficit theory of nursing. In A. M. †¢Tomey, A. & Alligood, M. (2002). Significance of theory for nursing as a discipline and profession. Nursing Theorists and their work. Mosby, St. Louis, Missouri, United States of America. †¢Whelan, E. G. (1984). Analysis and application of Dorothea Orem’s Self-care Practuce Model.Retrieved October 31, 2006. †¢George B. Julia , Nursing Theories- The base for professional Nursing Practice, 3rd ed. Norwalk, Appleton & Lange. †¢Wills M. Evelyn, McEwen Melanie (2002). Theoretical Basis for Nursing Philadelphia. Lippincott Williams& wilkins. †¢Meleis Ibrahim Afaf (1997) , Theoretical Nursing : Development & Progress 3rd ed. Philadelphia, Lippincott. †¢Taylor Carol,Lillis Carol (2001)The Art & Science Of Nursing Care 4th ed. Philadelphia, Lippincott. †¢Potter A P atricia, Perry G Anne (1992) Fundamentals Of Nursing –Concepts Process & Practice 3rd ed. London Mosby Year Book.

Pakistan Tourism Essay

Dented with political crisis and economic instability Pakistan has been unable to promote its tourism industry to the world. This does not mean that Pakistan is not a tourism destination. From scenic landscapes to a diverse culture, Pakistan has tremendous potential in terms of tourism. Before the economic crisis struck the world and when the economic and political climate of the country was stable, Pakistan received more than 500,000 tourists. From the ruins of civilizations such as Moenjodaro, Taxila and Harappa to the peaks of the Himalayan hill stations which stand at above 7000ft, Pakistan has lots to offer. Lahore, the second largest city is the cultural and fashion hub of Pakistan. The Lahore fort, Badshahi Mosque, Shalimar Gardens and the Tomb of Jahangir are key Mughal architectural icons of the city. The Travel and Tourism Competitiveness Report published by the World Economic Forum ranked Pakistan as one of the top 25 tourist destinations due to its abundance of World Heritage sites such as Moenjodaro, Taxila, Buddhist ruins of Takht-i-Bahi, monuments of Thatta, Fort and Shalimar Gardens and the Rohtas Fort (www. tourism. gov. pk ). K2, the world’s second highest mountain attracts numerous mountain climbers from across the globe each year. The northern part of Pakistan boasts a large amount of forts and ancient architecture such as the Chitral and Hunza valley also known for their scenic beauty. Other peaks such as Nanga Parbat and Rakaposhi are also renowned and are supported by remote resorts which provide an ideal summer get away for tourists (Rehmat Karim Baig, 2005). The country also hosts various festivals and fairs that are aimed at attracting tourists. The ski resorts in the northern part have annual skiing championships. Moreover, paragliding shows, the cholistan jeep rally, Kalash festival, Silk Route festival and Polo Festivals are held regularly. Trekking, Skiing, rafting, hunting, mountain and desert jeep safaris, fishing, bird watching and camel safaris are some unique experiences Pakistan has to offer in terms of adventure tourism. With a classic topography including towering mountains, narrow passes and beautiful glaciers the country is heaven for the adventure centered tourists (www. pakistan4ever. com). Pakistan also offers spiritual tourism for various religions and ethnicities such as Buddhists and Sikhs form neighboring countries. The Indus Valley gave rise to various civilizations and gained fame throughout the world. Sport tourism is also a major attraction. The Shandur Polo Festival is the most attracting sports festival for both local and foreign tourists. Other sports include white water rafting, rock climbing, angling and mountain biking (Mujahida Noreen, 2002). Tours and Packages are easily accessible for tourists which include day trips to heritage sites, city trips, summer and winter packages. Apart from the hill stations and culturally diverse landscape, Pakistani cities of Lahore, Islamabad and Karachi are an adventure in themselves. From the lively shopping districts of Karachi to the scrumptious meals in Lahore, each city has its specialty. Pakistani tourists on the other hand are major contributors to the tourism revenue. The northern hill stations of Ayubia and Nathiagali are renowned for there scenic beauty, tranquility and adventures. Lahore is the fashion capital of Pakistan and offers numerous shopping and food service facilities. The ‘Food Street’ in Lahore is most renowned because of its delicacies. Tourism in Pakistan is endless, with so much to offer, the country is a haven for tourists of all kinds. Visit Pakistan and you will never regret it (Government of Pakistan, UNDP, and WTO, 2000). References 1. Mujahida Noreen. (2002). Tourism in Pakistan. Univeristy of Michigan: National Institute of Pakistan Studies. 2. Pakistan Tourism Development Corporation. Retrieved May 10, 2010, from www. tourism. gov. pk 3. Pakistan Travel and Tourism Guide. Retrieved May 10, 2010, from www. pakistan4ever. com 4. Rehmat Karim Baig, (2005). â€Å"Mountaineering and Tourism Promotion in Chitral†, proceeding Report -Seminars on Mountain Tourism, pp. 31-3. 5. Government of Pakistan, UNDP, and WTO. (2000). Tourism Master Plan-Pakistan, Madrid.

Analysis Of William Shakespeare s Sonnet 1 - 1460 Words

Unit 4 Journal C.S. Lewis, â€Å"Sonnet 1† (from Five Sonnets), pages 476-477 Shadow and Light This sonnet brings to mind the feelings one has when faced with fear or loss. Lewis puts it beautifully that we all grieve in different manners, but that our pain is the same. I feel that he makes a call for people to be more understanding of others. That just because someone does not show the same emotion as you, does not mean they do not feel. It means they feel in a different manner. Lewis also says, â€Å"we do not shout and shake our fists at God†(p 476), to me this shows a deeper understanding of life. We all can find someone or something to blame for problems or injustices in life, but until we learn to put the blame where it lies we are doomed to feelings of pain and loss. Samuel Johnson, excerpt from Prayers and Meditations, pages 25–27 Shadow and Light This selection is a bittersweet plea from Johnson to God. 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