The key results from this study illustrate the socially constructed nature of entrepreneurial narrative and the diva storyline. Furthermore the newspaper article provides evidence of the influence of journalistic licence and how successful woman Maria calla’s are portrayed as ‘Diva’.
Nevertheless, the finding have important implication for journalists relating to how we tell and decode entrepreneur stories. Also journalist are the policy makers, they nevertheless, influence popular construction of enterprising individuals, and such as responsibilities to a wider readership. This paper is critically discussing how Callas as diva stereotype informs our understanding of the socially constructed of the nature how we tell, understand and appreciate entrepreneur stories makes an important contributions. In many respects this original paper makes a unique contribution by illustrating that like entrepreneur stories. The story line which constitute the diva cycle are constructed from the same story lines narrated in a different order. In doing
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so, the paper provides another heuristic device for understanding the social construction of gendered entrepreneurial identities and will be of interest of feminist scholars of entrepreneurship social constructionist alike. The diva storyline does appear to be an alternative social construction of female entrepreneurship through which woman can
engage with the troublesome masculine construct that is entrepreneurship.
This enables an overarching Diva ‘identity’ to be constructed from the behaviours of Diva herself.
Moreover, in the newspaper review it tells us as Diva status and thus, “Diva Dom” , is based around a combination of skill and beauty, and only a small clinch of woman accrue the status of being a true Diva who possesses endurance, a glamorous persona. Above all Calla’s reputation has possess to be diva because the entire basis of diva status to impress and to show off, it is in many respects an identity that one performs.
Another fact in the newspaper reviews tells to make understand that to being as diva it shares with the entrepreneur is that, as a general rule, they are loved by the public and often subject to popular acclaim.
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Part 2
Plato on tradition and belief
1.
In this essay I am writing how Protagoras and Socrates has presented and the argument and came to conclusion. I will be looking some of the passage and explain the arguments.
Is justice just, and is holiness holy ? And are justice and holiness
opposed to one another? Then justice is unholy.' Protagoras would
rather say that justice is different from holiness, and yet in a certain
point of view nearly the same. He does not, however, escape in this way
from the cunning of Socrates, who inveigles him into an admission that
everything has but one opposite. Folly, for example, is opposed to wisdom,
and folly is also opposed to temperance, and therefore temperance and
wisdom are the same. And holiness has been already admitted to be nearly
the same as justice. Temperance, therefore, has now to be compared with
justice.
Protagoras, whose temper begins to get a little ruffled at the process to
which he has been subjected, is aware that he will soon be compelled by the
dialectics of Socrates to admit that the temperate is the just. He
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therefore defends himself with his favourite weapon; that is to say, he
makes a long speech not much to the point, which elicits the applause of
the audience.
Here occurs a sort of interlude, which commences with a declaration on the
part of Socrates that he cannot follow a long speech, and therefore he must
beg Protagoras to speak shorter. As Protagoras declines to accommodate
him, he rises to depart, but is detained by Callias, who thinks him
unreasonable in not allowing Protagoras the liberty which he takes himself
of speaking as he likes. But Alcibiades answers that the two cases are not
parallel. For Socrates admits his inability to speak long; will Protagoras
in like manner acknowledge his inability to speak short ?
2.
The courageous are the confident; and the confident are those who know
their business or profession: those who have no such knowledge and are
still confident are madmen. This is admitted. Then, says Socrates,
courage is knowledge an inference which Protagoras evades by drawing a
futile distinction between the courageous and the confident in a fluent
speech.
Socrates renews the attack from another side, he would like to know
whether pleasure is not the only good, and pain the only evil ? Protagoras
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seems to doubt the morality or propriety of assenting to this, he would
rather say that 'some pleasures are good, some pains are evil, ' which is
also the opinion of the generality of mankind. What does he think of
knowledge ? Does he agree with the common opinion that knowledge is
overcome by passion ? or does he hold that knowledge is power ? Protagoras
agrees that knowledge is certainly a governing power.
This, however, is not the doctrine of men in general, who maintain that
many who know what is best, act contrary to their knowledge under the
influence of pleasure. But this opposition of good and evil is really the
opposition of a greater or lesser amount of pleasure. Pleasures are evils
because they end in pain, and pains are goods because they end in
pleasures. Thus pleasure is seen to be the only good, and the only evil is
the preference of the lesser pleasure to the greater. But then comes in
the illusion of distance. Some art of mensuration is required in order to
show us pleasures and pains in their true proportion. This art of
mensuration is a kind of knowledge, and knowledge is thus proved once more
to be the governing principle of human life, and ignorance the origin of
all evil- for no one prefers the less pleasure to the greater, or the
greater pain to the less, except from ignorance. The argument is drawn out
in an imaginary 'dialogue within a dialogue,' conducted by Socrates and
Protagoras on the one part, and the rest of the world on the other.
Hippias and Prodicus, as well as Protagoras, admit the soundness of the
conclusion.
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References
Reputations
The Arts and present AA100, edited by Elaine Moohan, p174-180
Tardition and Dissent
The Arts and present AA100, edited by Carolyn Price Page 13-27
Open university material Audio CD, Plato’s Laches- a discussion with Tim Chappell
Open university material Audio CD, The Diva
