Irish History A Brief Historiography Essay Example | Topics and Well Written Essays - 2250 words

Irish History A Brief Historiography - Essay Example The first Normans landed in Ireland or at least the descendants of the Normans who had conquered England from 1066 onwards. Little did Diarmuid McMorrough (King of Leinster) know that his action of involving outsiders in sorting out a local political dispute with rival clans would have such a profound effect on the history of Ireland for centuries to come. Up to that point, Ireland was largely an independent entity and mainly Christian in character. Ireland had played its part in illuminating the â€Å"Dark Ages† in the 4th Century when she had brought the Christian faith to all parts of Europe through the exploits of the adventurous monks like St. Colmcille where he and his like founded monasteries not only in England and Scotland but also in the furthest ends of Europe. This era was known as â€Å"Ireland of the saints and scholars†. Prior to the Normans, or more accurately the descendants of the Normans who had settled largely in Wales, the Vikings had plundered and traded with the native Irish and had assimilated into Irish society blending their own unique culture with that of the locals. Many of Ireland’s great cities and towns such as Dublin, Waterford, and Wexford developed and prospered on Viking trade. What was different about the Norman invasion from other intrusions was their sheer military strength, their administration and their ability to apply law and order to the lands they had conquered. Their administration was far in advance of anything in existence in Ireland on their arrival.... Ireland had played its part in illuminating the "Dark Ages" in the 4th Century when she had brought the Christian faith to all parts of Europe through the exploits of the adventurous monks like St. Colmcille (Columba) where he and his like founded monasteries not only in England and Scotland but also in the furthest ends of Europe. This era was known as "Ireland of the saints and scholars". Prior to the Normans, or more accurately the descendants of the Normans who had settled largely in Wales, the Vikings had plundered and traded with the native Irish and had assimilated into Irish society blending their own unique culture with that of the locals. Many of Ireland's great cities and towns such as Dublin, Waterford and Wexford developed and prospered on Viking trade. What was different about the Norman invasion from other intrusions was their sheer military strength, their administration and their ability to apply law and order to the lands they had conquered. Their administration was far in advance of anything in existence in Ireland on their arrival. To the native Irish it must have seemed that their entire world as they knew it was completely turned on its head. How could they fight or compete with such a powerful force To a great extent the early settlers were more like adventurers, advancing their own self interest, - a point not wasted on Henry II who was quick to see the security implications for his own kingdom. It was imperative that he gain some measure of control and this is what he did. Up to Tudor times the Norman conquest of Ireland was limited to certain areas of the country, mostly to strongholds in the province of Leinster and particularly around Dublin. This area was known as "the Pale"1 which was roughly a forty mile radius

Both Spirited Away and Pan(TM)s Labyrinth Essay Example for Free

Both Spirited Away and Pan(TM)s Labyrinth Essay Both Spirited Away and Pans Labyrinth represent the traditional family unit as an important part of a childs life. How do the two films convey these messages to the audience? Hayao Miyazakis Spirited Away (2001, Japan) and Guillermo Del Toros Pans Labyrinth (2006, Spain) are both feature length films which delve into the journey of a young female character experiencing their own personal journeys to achieve different goals. This is achieved by the aid of supporting characters who take on the roles of those in a traditional family. This may include a mother, father, siblings and others. The traditional family unit in Spirited Away is absolutely essential to the development of the piece. Chihiro, the main protagonist, throughout the film is on a journey to maturity. At the start, she is represented as a very naà ¯Ã‚ ¿Ã‚ ½ve and insignificant person. For example, towards the start of the film we see a low-angle shot from behind Chihiro, looking up at the bathhouse. Just this camera shot already suggests to the audience that the director is portraying her in a stereotypically childlike light; she is wandering into the unknown with a complete lack of self-awareness. In contrast, towards the end of the film, we see Chihiro reach a new level of maturity. If we look at how she reacts to her parents driving her away from her home, friends, and everything that she had become accustomed to; she complains about it, and generally acts childish in her actions, for example when we see her father point out her new school, at which point she sneers and pokes her tongue out at it t hrough the car window. We can compare this directly to when Chihiro journeys, by train, to return a gold seal to Zeniba. The decision to go was completely self-motivated, brought about solely by her own feelings of responsibility. This in itself conveys messages of maturity. Although we have almost exactly the same situation as at the start of the film in the car (she is travelling to an alien destination), this time she has an awareness of where she is going, and has chosen to take the journey herself. This path of maturity becomes an imperative aspect to acknowledge when looking at the supporting characters and their significance. During the film, her parents are taken away from Chihiro, and she is left alone. However, this triggers a traditional family unit to form around her. From my observations, these surrogate family members include Lin, taking on the big sister role, Yubaba, taking the role of a grandmother and Kamaji assuming the father/grandfather/uncle figure. The character of Haku whose relationship with Chihiro is possibly one of the most significant, is also the most debatable and perhaps the hardest to define as part of a family unit. Looking at the character of Lin, her influence on Chihiros development is more than apparent. From the moment that Chihiro becomes employed in the bathhouse, her contact with Lin is very much of a sisterly nature; they share the same daily routine, eat together, sleep together,live together. Being the younger of the two, she would naturally default to mimicking her in everything she does, exactly as a stereotypical older/younger sister relationship would operate, especially concerning their work in the bathhouse. We see this when Chihiro notices how Lin uses the bath tags in a certain manor to receive water from the boiler, and then later when she takes on the task of cleaning the stink spirit, she remembers this and makes use of it several times in order to finish the job at hand. This shows advancement in Chihiros independence and ability to adapt to the situation given in the workplace, and these skills are learned directly from Lin. Again, this is undeniable evidence suggesting t he importance of a sister figures contribution to the traditional family unit. In the absence of her real mother, Yubaba as the only mature female character in the piece, becomes the obvious choice of surrogate mother/grandmother for Chihiro. The first introduction of Yubaba as a mother/grandmother figure is her naming/re-naming of Chihiro to Sen, like a mother christening her child. The importance of this act is that giving Chihiro a new name in this workplace, which only an adult experiences, is a disciplinary act, giving her a completely different identity, almost forcing Chihiro to become someone else. As in every traditional family, if children are spoilt, they never mature, but if they are disciplined along the way by their mother, they learn respect, appreciation and other such skills. This is another vital step for Chihiro to take on her path to growing up, induced entirely by Yubaba. However we also have the part of Zeniba, who takes on a similar role to Yubaba but in a more affectionate and understanding way. In a stereotypical parental unit there wil l always be the affectionate side and the disciplinary side in order to ensure a childs good upbringing. Kamajii, the boiler man, is conveyed to us as the audience in such a way that we immediately recognise him as very experienced, kindly and possibly wise. Although he is a rather removed character in the film, only appearing infrequently, he is only ever welcoming in nature, helping Chihiro at any obstacle that should arise, but at the same time diligently carrying out his work. We see this when he is grinding all sorts of different herbs and spices on his pedestal, but voluntarily he pretends that Chihiro is his granddaughter and requests that Lin takes her to see Yubaba for work. All of these are the traits of a father, however, due to his absence in the film as a whole, he is more like a grandfather, and actually refers to Chihiro as his granddaughter near the beginning of the film. We see this when Chihiro is desperately trying to find a way to get to Zenibas place, and Kamajii offers her his only train ticket there. Again, although a seemingly small contribution, everybody needs a bit of stability and support, much like Chihiro did here, and this is exactly what Kamajiis fatherly character offers. Haku, being one of the first characters which Chihiro meets within the film, immediately becomes important to her; a lost child in real life would latch on to the nearest compassionate figure, and when Haku finds Chihiro, this is precisely what happens. More than that; however, particularly in such unfamiliar surroundings, this boy being the first person that she meets and him even rescuing her from death, forms a unique relationship between the two, which lasts throughout the film. It is because of this that Chihiro possibly cares about him more than any other character in the film, and certainly, Haku cares for her more than any other character. We see this several times, for example when Chihiro notices Haku, as a dragon, flying into a window of the bath house, in a bloody state. Chihiro is desperate to try and help Haku, and chases him up to Yubabas room to do this. The significance of this, is that due to these romantic or otherwise feelings, Chihiro was shown by Haku how to care for someone at the start of the film, and in the example given, she mirrors Haku in this, giving direct evidence to suggest that Haku, interpreted as a family figure or not, is still a massive influence in Chihiros personal development. So the ideology of this film seems to, certainly, be that a strong family unit is absolutely vital for the development of a child. In Pans Labyrinth, our central character is the young Ofelia, and we are straight away shown a typical parent-child situation with her mother Carmen in the backseat of a car; Carmen is telling Ofelia that she is too old for books and fairy tales. We can suggest that probably the most prominent development in Ofelias character, throughout the film, is how she becomes notably more courageous, in a rebellious manner. This is not necessarily to say that Ofelia doesnt demonstrate courage and self-determination towards the beginning of the film, for example, she independently wanders off into the labyrinth to find Pan the faun quite early on the piece. However, if we particularly observe her actions towards the Captain, her step-father, as the piece progresses, Ofelia, without doubt, feels more confident to rebel against him with more audacity, and greater consequence. For example, Ofelia seemingly unintentionally offers the Captain her left hand at the start of the film, a comparatively m inor act of disrespect, but nearing the end, she even has enough daring to go so far as to steal her baby brother from his room. There is plenty of evidence to suggest that the main heroine in the film develops due to supporting characters taking on family orientated roles, much in the same way as in Spirited Away. What does differ though is that Ofelia actually has her real mother for the majority of the piece although her presence fades throughout the film, she is still present. This distinction is vital to acknowledge as a mother figure, for a young girl, will probably the most influential person in the shaping of their own character. Her mother aside, our traditional family unit members include Mercedes, as a big sister/mother role and Pan, as the only possible fatherly figure the piece. Much like in Spirited Away, where Yubaba is instantly recognised as an evident adult figure, due to her being introduced in the workplace and her business-like nature, we can also instantly identify Carmen as an adult because she is portrayed as a mother above all else in the film, being in her pregnant state. In terms of Carmens impact on Ofelia, the main citation to be made is how Carmen shows devotion to her children, which Ofelia learns, and employs later in the film. For example, we see how Carmen marries a man, who she debatably doesnt even love, in order to bring a safe environment to her children, showing a great deal of affection to her children. Even though all logic would lead Ofelia to care very little about her brother, (he is the cause of her mothers death and Captain Vidals son) she ends up giving her life for him at the end of the film, almost mirroring her mothers actions, proving to the audience that Ofelia has gained skills from her mother, conveying messages of massive importance upon the part of a motherly figure in a traditional family unit, relating directly back to the question. The character of Mercedes is without question, the most appropriate person to take on a sisterly role for Ofelia. We can quite easily make the connotation that, due to Mercedes and Ofelias almost identical circumstances (they are both at the mercy of the captain), Mercedes can simply be described as an older version of Ofelia. Furthermore, both of these characters close relations come to harm at the hands of the captain. We see this when the captain instructs the doctor that, if the baby can be saved, then Carmens welfare is negligible. Also Mercedes comrade, one of the Guerrilla rebels, is eventually tortured by the captain and killed. Ofelia in fact looks to Mercedes as more of a role model after her mother dies, and possibly identifies her as a secondary/replacement mother figure. Much like in Spirited Away, Ofelias loss of parentage leaves her with no choice but to latch on to the nearest affectionate character, here being Mercedes. So overall, Mercedes greatest contribution to Ofelias development is that of displaying courage, particularly in rebelling against Captain Vidal, which Ofelia learns from and mimics, much like a younger sister would do. We see this quite clearly when Mercedes seeks out Ofelia and tries to escape with her near the end of the film. After Carmens death, Mercedes is Ofelias new role model, Ofelia goes on to steal the baby from the captain, a courageous, and rebellious, skill learnt directly from Mercedes, the evident sister figure in the piece. Pan, the faun, is a very interesting character in terms of analysis. It is he who actually opens up this supernatural world to Ofelia, which is what makes him interesting, because he could be interpreted as a character which does not develop Ofelia, but actually completely the opposite, simply due to the fact that he widens this supernatural world, which Ofelia creates through her childlike imagination. This can be seen by the way that he sets out a task for Ofelia in order to become Princess Moanna of the underworld, and stay a child forever. Conversely, Pan, being a seemingly authoritative figure in this strange world, actually makes rules within this world i.e. he tells Ofelia that these various tasks must be completed in a certain fashion e.g. he instructs her not to touch the fruit in the second task. Be this imaginary or not, this makes him become an embodiment of discipline for Ofelia, taking on the role of a replacement father. This is very similar again, to Yubabas role in S pirited Away. Laying out rules for Ofelia in each of the tasks that he sets her, forces her to independently mature and stick to the rules, very unlike the actions of a child, clearly benefiting her. Because nobody seems to step in and take the role of Ofelias father, it is rather convenient that it is Pan who induces Ofelia to rebel against the Captain, steal the baby, and for the final goal to re-unite Ofelia with her real father. This is so significant in the sense that, this is very likely exactly what a stereotypical father would do if one were still present. Relating back to the question, if we remember that the only missing member of Ofelias family unit is a father, Pan could well be Ofelias attempt at completing this broken family unit through her imagination. If we then look at what this suggests about the ideology of Pans Labyrinth, it seems to me that it could suggest the same as Spirited Away but also, when taken out of the comfort zone of a strong family unit, it can actually force a child to mature in a greater way than with one. Through close analysis of both films, it has become clear that children crave the stability that the traditional family unit provides. They also thrive in it. Both central female characters in each film, undoubtedly piece together some kind of family in whatever way they can, in the absence of their actual family members. However it has also become apparent that people around characters who lack stability, are without question, drawn to filling those roles. When looking at the evidence given for each character explored in the two products, it would be a huge understatement to say that each member of the traditional family unit doesnt have a massive impact on the central protagonist. The two films convey the messages of family importance in such a way that without the supporting family characters whose roles are taken on within each piece, the actions and development of both Ofelia and Chihiro in their respective films would both be completely different without the presence of these characters.

Reviewing Somerset Maugham The Short Story English Literature Essay

Reviewing Somerset Maugham The Short Story English Literature Essay W. Somerset Maughams The Complete Short Stories of W. Somerset Maugham are two self-compiled volumes filled with literary sketches from his travels around the world. Through careful observation, Maughams keen insight into human nature proves a most interesting topic choice. Written in a meticulous structure, he writes the same old story in a raw and riveting way. While working as a doctor in the slums of London, he came into contact with less than reputable characters, some of which intrigued him. These initial experiences with colorful individuals seemed to be the origination for his interest in human nature. Maugham was interested in controversial topics like adultery and prostitution, but I believe any culture that was different than his own simply evoked strong feelings of curiosity. When possible, he leapt to explore those circumstances, hence his famed short stories compiled from his travels around the world. Maugham writes of his travels more than any other topic throughout his oeuvre. Because his writing gave him freedom to travel, Maugham was able to witness notoriously historical settings in his lifetime. Most transcribed in his short stories are these accounts of colonized areas in the Far East. India and Asia, colonized by Britain during the time of his travels, were lands filled with interesting people waiting for their story to be told. Through others stories, he wrote first-person narratives unique to this time. And while each sole story was distinctive, two common threads united them all together: its capturer, Maugham, and foreign lands. Maugham was able to illustrate the setting of the early twentieth century in a way unlike any other author. Not until after delving into the collection did I read the preface which explains exactly how and why the collection was constructed. Maugham states that his short stories are actually notes taken while traveling on particular instances and accounts of people that interested him. His intention was to revise his notes upon returning home, and to transform them into classical short stories with better narrative than originally found in his notes. When observing the notes, Maugham found they had a vividness which I might easily lose if I tried to elaborate them. His notes stayed as they were and he took on the famed reputation for having a plain prose. Maughams notable style was formed when he wrote for Cosmopolitan Magazine. He was required to integrate his stories into allotted space; therefore he had to write an interesting story with succinct language. This can prove to be difficult and is similar to poetry in the sense that certain adverbs and adjectives are stripped away to achieve the most profound story possible. Because of Maughams circumstances, he employed discretion when choosing his verbiage. Combing his work forced him to consciously mold his writing style, and to make his stories concise without making the monthly story tedious. This makes any writer more familiar with and ultimately superior in their craft. What the public got was a refined and pithy account of Maughams scrupulous narratives. His plain prose style, being bare in language, dated in setting, and having the common theme of human nature became a sure-tale sign of his work. Maughams decision to keep his notes raw makes them a refreshing alternative to the embellished stories of his peers. While some authors write more colorfully and in detail than Maugham, they elaborate and strip the stories of je ne sais quoi that can be found in raw, frank art. While some may view this is bland reporting, it captures an element which refined stories lack. His notes, or stories, resemble photographs in that they are snapshots of the setting. The works of his peers are like paintings, which are manipulated by the artists to appear in a perfect manner born from the authors view. Underneath the initial image of his work, like photographs, there is an ethereal quality. The connotation of foreign land accompanied by the time of the colonized Far East makes this possible. His style creates an unadulterated rapport with his readers. True entertainment lies within a story, and the means of telling it is merely taste. I admire Maugham for being undaunted by his competitors styles. His lack of elaboration to engage a reader is bold. The purpose for some artists, as Maugham does, is to find the extraordinary in the everyday. Maugham goes on to explain that stories generally are seen as dull, to a writer, can be seen as intriguing. This is what makes a talented artist perfect for their work. They are able to observe minute details and make them apparent for those who cannot do this. His stories are entertaining and well written, despite what critics or Maugham himself may say. In a self-deprecating quote, Maugham states that his limited vocabulary and lack of creative metaphors within his stories is the cause for harsh literary criticism. Maugham describes his opinion of a true story to include a beginning, middle and end. He states that popular writings of his day are to begin a story at any point and to end inconclusively. He believed this willy-nilly approach is not truly a story and that there must be structure. He believed a reader is only satisfied when there is a conclusion and sense of closure. Maugham also believed that his peers were inclined to write of perilous stories to intrigue their readers, but he could make everyday just as intriguing. He was behind his times and was enthralled by the past ways of writing. His work was said to have a plain prose style which was contradictory to his peers experimental literary styles. Interestingly I made the observation when reading his short stories of how matter-of-factly they had been written. This is what happened here, is often his message. This style of Maughams is what I like, but can also tire of. It is interesting and crisp, and all the adjectives and metaphors are stripped away. I am prone to concise information, and Maughams work is the base for plain prose indeed. Of course, one will tire of such bare language and crave something more colorful and exciting, which is why his style can eventually make the reader restless. Like bread, it is enough for sustenance, but with the lure of near-by fruit, who could stay on bread forever? Maugham is a unique unabashed writer whose style and diction I enjoy because it is not often heard today. It is rare and delicate and is novelty for modern readers. It is not necessary for a story to contain the dramatic plot of all fictions, as Maugham has proven over the years. Because he was true to his form, he should be respected by all. Work Cited Maugham, W. Somerset. The Complete Short Stories of W. Somerset Maugham. Doubleday: New York, 1952. Hastings, Selina. The Secret Lives of Somerset Maugham. John Murray. London, 2009. Rowland Egger, Roland. The Administrative Novel. The American Political Science Review, Vol. 53, No. 2 (Jun., 1959), pp. 448-455

Canterbury Tales Essay - Wife of Bath as an Attack on Married Life?

Canterbury Tales - Wife of Bath is Not an Attack on Women and Married Life Feminists have proposed that the Prologue of the Wife of Bath is merely an attack on women and married life. The Prologue is spoken by a woman with strong opinions on how married life should be conducted, but is written by a man. It is important to examine the purpose with which Chaucer wrote it. This is especially so as many of the pilgrims in The Canterbury Tales condemn themselves out of their own mouths, such as the Monk and the Friar. While the Wife spends most of the Prologue arguing in favour of the deceit and deviousness that wise wives will execute, the argument is often illogical and can approach ridiculousness in its vehemence. Are we to agree with the views that the Wife of Bath puts forward so strongly, or does Chaucer present her as a caricature of every negative quality women are traditionally guilty of?   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   A great deal of the Wife's Prologue is spent in her narration of the tirades that she subjected her first three husbands to, largely a list of accusations made by anti-feminists of women, and the Wife's spirited responses. The Wife's replies defend women's behaviour -- if a husband has enough sex from his wife, she says, he should not care "How mirily that othere folks fare". She attacks scholars who accuse women of all manner of vileness by asking "Who peynted the leon, tel me who?" and that because scholars (Mercurie) and women (Venus) are diametrically opposed, "Therfore no womman of no clerk is preysed." However, while it is clear that the Wife is on the side of fellow females, in a logical sense the Wife's arguments are not particularly effective against the anti-feminists' view that women are as vain as cats, as sex... ...ties of lechery and unscrupulousness; that is why Chaucer writes about her. By allowing both her and Jankyn bliss when he finally surrenders power to his wife, Chaucer does not appear to disapprove of this state of affairs on principle. The Wife of Bath is, however, a psychological study of a powerful, sexual woman and a speculation on what such a woman's life might be like. It is clearly one that intrigued Chaucer, as can be seen from the length of the prologue, which dwarfs all the others by comparison. Chaucer's aim in writing this prologue appears to have been the presentation of a character so strong, she approached a force of nature, rather than an attack on women and their conduct in married life. Work Cited Chaucer, Geoffrey. The Canterbury Tales. Norton Anthology of World Masterpieces. Ed Mack, Maynard et al. W. W. Norton and Co. New York, NY. 1992.

Never Ever Give Up on Life Essay

Never ever give up on life! No matter how hard life gets. Everyday one is faced with problems, some are worse than others. Just because one thing in life goes wrong doesn’t mean you are to stop and just shut the book. One is supposed to use that as a lesson and keep flipping pages on the book. God put us all on this Earth for a reason. Everyone was made to do a little or major change in this world. Throughout those obstacles we face everyday is how people will insult us and try to bring our self-esteem down to the ground. But no don’t let that happen, we are beautiful so don’t let anyone tell you otherwise. Relationships! That’s another thing that can mess up a lot of people’s brain. Just because your boyfriend/girlfriend left you, doesn’t give you the right to take your life away. You are worth much more than that. Trust me! God created a soulmate for all of us, but it’s on us to go out and search for it. Don’t literally mean go flirt with a thousand people but talk to others get to know them better and determine what they really mean to you and where they stand at. But like I said giving up on life because your partner left you is not a great idea for he/she is happpily going on with their life. Don’t you think if they actually felt a little remorse or something they would’ve maybe came back to you or even considered to apologize or something. So my only word of advice is never ever ever give up on life regardless of how bad the circumstance is.

Emotional Intelligence – Summary

February 10, 2013 ASMT W4b (R) ASMT W4b  (R) Why Emotional Intelligence Is Not Essential for Leadership C6 p. 171 Mitch McCrimmon, the author of â€Å"Why Emotional Intelligence Is Not Essential for Leadership†, presents an argument contrary to that of Daniel Goleman’s claim that leaders must be emotionally intelligent to be effective. He even ventures as far as calling Goleman’s theory harmful. â€Å"The bottom line is that emotional intelligence is more important for management than leadership† (Rowe, 2013, p. 172). McCrimmon begins his argument referencing great leaders like Martin Luther King, Mahatma Gandi, and Nelson Mandela.Each of these men has influenced others with their passion to eradicate unfairness. They convinced those who can make decisions to favor their ideas. â€Å"They aimed their cry at their respective governments and the population at large . . . but none of them managed the people responsible for making the policy changes that th ey were promoting† (Rowe, 2013, p. 172). They were bottom-up leaders. McCrimmon makes this point in order to simplify and redefine leadership to â€Å"the successful promotion of new directions† (Rowe, 2013, p. 172).This simplified definition of leadership allows for the promotion of better ideas in an environment where the leadership role shifts from person to person as ideas are developed. As justification for his new definition, McCrimmon claims that the traditional concept of leadership is founded within the confines of the managerial framework, not in those who lead outside of managerial roles. Returning to the topic of the article, the author contends that â€Å"emotional intelligence is critical for management, though not so for leadership† (Rowe, 2013, p. 174).From the beginning, emotional intelligence should have been associated with management, but â€Å"a scapegoat was needed to blame for the failure of Western businesses to cope with Japanese competi tion, and management was fingered for this role† (Rowe, 2013, p. 174). With management now the â€Å"bad guy†, emotional intelligence became associated with the â€Å"good guy† – leadership. Emotional intelligence has its place among management and only a situational role in leadership. It is important for executives and managers because they have many responsibilities involving the welfare of others.Managers need high emotional intelligence to succeed. However, creative and innovative non-managers, those wanting to challenge the status quo, do not need emotional intelligence in order to convince others of their ideas and be effective leaders. â€Å"The power to lead is increasingly knowledge based and is less about personality and character. Conversely, emotional intelligence is essential for all managerial roles† (Rowe, 2013, p. 175). McCrimmon concludes his argument with call for organizations to cultivate bottom-up leadership, especially organiz ations dependent on constant innovation. If potential leaders are told to keep quiet until they become emotionally intelligent, they may well say good-bye before they gain the necessary maturity† (Rowe, 2013, p. 175). He implores those in management positions to relinquish their monopolies on leadership in order to grow and encourage bottom-up leadership. Empower others to be leaders. References Rowe, G. , & Guerrero, L. (2013). Cases in leadership. (3rd ed. ). Thousand Oaks, California: Sage Publishing.