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Hiding behind other adjectives, such as bothered, agitated, irritated, upset, mad, frustrated etc. In fact, we see it nearly every day in the most public place we visit each day: What is it you truly care about? Do you care more about hurting that other person or improving yourself or helping people you actually care about?
Just the act of dredging up something from memory will tend to short circuit that rush of anger and make it much easier to control yourself. Yogis and meditation experts agree—keeping your mind off your problems is the key to creatively avoiding negative feelings such as anger. Speaking of yoga, walking and other exercises especially stretches and bends are a great way to unlock your core and relieve the stresses causing anger.
Whatever it is you choose to do, go burn off some steam. Removing yourself from the source of anger is useful in both a short-term and long-term resolution. If a particular person is constantly creating anger, it may be necessary for you to permanently relocate yourself to dissipate the anger. Otherwise, you can also have the other person removed. Anger is energy; you need to recycle that energy into something more productive. Remember those mottos from the recycling PSAs? Reduce your anger, recycle it into something more positive, and reuse it for something more productive.
As for the situation that caused the anger? People who hate you will hate to see you smiling, and everyone else will look up to you. Either way, a smile a day does more to keep doctors away than a sugary-sweet apple ever could. Smile like you mean it, if not to make yourself happy, then to annoy everyone else. There are two types of anger, and both must be addressed and dealt with separately. Short-term anger is the collection of all those trigger moments that started you on the path toward being angry.
Career Resilence Coach who is passionate about thriving and growing in a complex world Read full profile. The one constant thing in our life is change. We cannot avoid it and the more we resist change the tougher our life becomes. Trust me, I know this because I was very skilled at deflecting change in my life. We are surrounded by change and it is the one thing that has the most dramatic impact on our lives.
Change has the ability to catch up with you at some point in your life. There is no avoiding it because it will find you, challenge you, and force you to reconsider how you live your life. Change can come into our lives as a result of a crisis, as a result of choice or by chance. In either situation we are all faced with having to make a choice — do we make the change or not?
I believe it is always better to make changes in your life when you choose to rather than being forced to. We however cannot avoid the unexpected events crisis in our lives because it is these events that challenge our complacency in life. What we can control when we are experiencing these challenging events, is how we choose to respond to them. It is our power of choice that enables us to activate positive change in our lives. Acting on our power of choice provides us with more opportunity to change our lives for the better.
Learn the secrets of self-control from ancient wisdom and see them many lessons about the role that our nervous system plays in self control. When I'm angry at somebody, I get self-righteous — and that makes I sometimes manage to do it quite well but I fail miserable at other times.
The more opportunities we create to change our lives the more fulfilled and happier our lives become. Your meaning in life gives you purpose and sets the direction of how you want to live your life. Without meaning you will spend the rest of your life wandering through life aimlessly with no direction, focus, or purpose. When we were children we would daydream all the time.
We were skilled at dreaming and visualizing what we would be when we grew up. We believed that anything was possible. As we grew into adults, we lost our ability to dream. Our dreams became hidden and once we started to feel like achieving our dreams was impossible. A dream board is a great way for us to start believing in your own dreams again. Seeing our dreams every day on a dream board brings our dreams to life.
Our dreams become real and we start to have believe in the possibility of achieving these dreams. Once you know what is important in your life and what your dream life looks like for you, you need to take action and set your long-term, medium, and short-term goals. It is acting on these goals that enable you to achieve your dreams. Remember your goals may change. Always be flexible with setting and achieving your goals as things in life change and your goals need to reflect these changes. Regrets will only hold you back in life.
Regrets are events of the past and if you spend all your time thinking about the past you will miss the present and the future. You cannot change what you did or did not do in the past, so let it go. The only thing you have control over now is how you choose to live your present and future life. I had a heap of regrets that were holding me back in my life. On each balloon write a regret and then let the balloon go. As the balloon drifts off into the sky say goodbye to that regret forever.
Consequently, Jonah's staged anger scene has some inherent manipulative tendency. There are times when the conversation preceding a designation of anger is not manipulative but rather to speak sense to the angry person. In the scene of anger between Balaam and his donkey, the same question and answering conversation is also present, but the donkey's reply to Balaam was to pacify his anger and to help him so that he could see the limitations of his sight.
Savran notes "the ass tries to provide some perspective to assuage her master's anger. In fact, while he continually beats his donkey in anger, the donkey intelligently presents a persuasive appeal which drew Balaam's attention to his distinguished records of faithful service to him, and the need to see this present strange occurrence as something beyond his immediate control.
Consequently, the reply of the donkey is to calm the angry Balaam in order to prepare him for the message of the angel in vv. In some cases, the questions in angry scenes actually could help to express the ridicule by angry characters rather than just a character. In narrating the anger of Sanballat and his comrade Tobiah, the text reads: When Sanballat heard that we were rebuilding the wall, he became angry and was greatly incensed.
He ridiculed the Jews, and in the presence of his associates and the army of Samaria, he said, "What are those feeble Jews doing? Will they restore their wall? Will they offer sacrifices? Will they finish in a day? Can they bring the stones back to life from those heaps of rubble-burned as they are? In this scene of anger, the two characters express their contempt for the building project embarked upon by Nehemiah.
While Sanballat expresses his anger in question, Tobiah answered and sought to pacify his friend's anger by telling him not to worry because the project is doomed to fail since even if a "fox" runs over the wall, it will throw down the stones from the wall. Concerning Sanballat's anger, H. Williamson said, "Sanballat uses ridicule as a means of avoiding loss of face in the presence of his supporters and subordinates. On the other hand, an angry character in a feat of rage could also misconceive or misinterpret realities around him.
In this angry scene, the angry question could show this misconception of things by the angry character, and hence suggesting the distorting power of anger. For example, king Ahasuerus asked, "'[w]ill he even molest the queen while she is with me in the house? Earlier describing this angry scene, the narrator reports: But Haman, realizing that the king had already decided his fate, stayed behind to beg Queen Esther for his life" Esther 7: Ahasuerus mistakes Haman's begging of Esther and his "falling on the couch where Esther was reclining" as a quest to molest Esther, thus sealing the doom of Haman.
In this particular case, the angry character in the angry scene perceives and interprets differently the action of another character. In fact, he misunderstood the "begging" of the queen by Haman as a molestation of the queen. The pericope describes the blinding effect of anger, and suggests the possibility of a character's misreading or misinterpreting the action of another character because of anger.
In addition, a character in a scene of anger could use foul language or howl insult at the object of his anger in order to fully express his anger. For example, on the anger of Saul against his son Jonathan, the narrator said, "Saul's anger flared up at Jonathan and he said to him, 'You son of a perverse and rebellious woman! Don't I know that you have sided with the son of Jesse to your own shame and to the shame of the mother who bore you? Here, Saul's anger is expressed by the means of insult and foul language which has no hint of politeness or respect for Jonathan, and they clearly show Saul's contempt for his son's relationship with David.
Situated in its patriarchal milieu, Saul also appears to suggest that Jonathan has become emasculated and turned into a "woman" by his expression of culturally perceived "feminine virtues" of love for David, his father's enemy, rather than seeking to kill him as his father and the societal norms of the ancient world expect him to do.
In biblical scenes of anger, another important element of this scene is the presence of a significant course of action whether by the angry character, his proxy or the character who is the object of the anger. The significant action may be a turning point, a quest to pacify, a tragic end which naturally consummate the angry process. For example, in the story of Saul's anger against David, the angry scene initiated an important turning point in the relationship between David and Saul. In fact, it begins the process of rivalry and distrust between these two characters.
In the story of Jacob's anger against Rachel, she suggested the marriage of Jacob to Bilhah which added a new important element in the story of rivalry between Rachel and Leah Gen In the story of Jonah, Yahweh taught Jonah an important lesson through the shrub and helped Jonah also to see the futility of his ethnocentric thinking, and Yahweh's compassion for the Ninevites 4: In Cain's story, Cain's anger led to murder Gen 4: However, in the story of Balaam, Yahweh opened Balaam's eyes to see the angel of death that was standing in front of him, and thereby leading to an important moment of epiphany or the self-realization of Balaam's limitations as a prophet Num On the other hand, David's anger against Yahweh resulted in his decision to temporally abandon the ark in the house of Obed-Edom and not to bring the ark to the palace area as originally intended 2 Sam 6: In the case of Sanballat's anger, Nehemiah leads to an important moment of prayer whereby Nehemiah presents the ridicules of Sanballat and his comrades to Yahweh.
In Abner's case, the angry scene triggered a major quest by Abner to turn the kingdom of Israel over to David 2 Sam 3: In the angry scene involving king Ahasuerus, the king in anger commanded Vashti to be replaced Esther 1: In all the preceding examples, angry scenes appears to help in moving the story forward and have also attending impact on plot progression of biblical narratives. Drawing from the preceding scenes of anger in biblical narratives, some characteristics of the angry scenes clearly emerged.
Five characteristics of this scene could be readily highlighted. First, the scenes of anger in biblical narrative aid in the narrator's characterization. In fact, the way a character responds to or behaves in a scene of anger tells the reader a lot about this character. The narrator carefully places appropriate speeches on the lips of characters in an angry exchange scene in order to help with this objective of characterization.
Secondly, angry scenes reveal the masculinity of anger in biblical narrative. It is only male characters that are usually angry. Interestingly, female characters are placed in contexts which could have triggered anger, but consistently the narrator denies all the female characters of biblical narratives the emotion of anger. In contrast, he consistently attributes anger to the male character.
One would have expected the expression of anger by Delilah when Samson kept postponing to tell her the secret of his strength Judges Even in cases of rape where one expects the emotion of anger, the female characters were never said to be angry or designated by the narrator with this emotion Gen While one may say that anger is implied, it is noteworthy that the narrator consistently denied female characters the designation of anger. To this end, Wolde observed, "[t]he conclusion to be drawn, therefore, is that none of the verbs designating anger are conceptualized with a female sub-ject.
Anger, wrath, curse, being hot of anger, burning of anger, melting of anger, shaking of anger, or outbursting of anger are not sentiments attributed to a woman. This might be explained by the fact that biblical texts, because of their origin in patriarchal society, pay limited attention to women's behaviour, so that we are also not given access to female sentiments of anger. It might also be the result of social conventions, which provided women at the time with limited ways of communicating their anger. Thirdly, angry scenes are often confrontational and they directly help plot progression.
In this sense, angry exchange helps in most cases to move the plot forward because angry emotion provides important drive for selfexpression and action. Similarly, angry scenes are intense emotional moments in narrative representation. They are one of the highest points of emotional expression in biblical narrative because they provide emotional template for the representation of biblical characters. In fact, angry scenes directly take us into the emotional world of biblical narrative with characters expressing passionately their anger and displeasure against the point of view of other characters.
In this state of fierce emotion, characters in angry exchange seek to exploit, manipulate and pacify the anger of other characters within the same narrative space. Consequently, angry scenes directly reveal the artistic commitment of the biblical narrator in his representations of characters in these various stylistic frames. Lastly, angry scenes help to enhance the mimetic quality of the biblical narrative particularly in the presentation of characters, who like real persons, engage and exploit the emotion of anger.
In biblical narrative, we meet angry kings, angry husbands, angry prophets, angry commanders, angry brothers, and angry friends who immediately resonate with individuals and persons in the real life of the reader. In the heightened emotion of anger, characters cease to be mere representation or just a creation of ink on paper, but they are seen as "real" entities who, in these scenes, engage in a very important emotion shared by all sentient beings. In the studies of biblical narratives, the literary features of angry scenes had not been pursued in spite of its significance in the overall rhetoric of the HB.
This rhetoric is clearly seen in the writing of the HB. For example, the Deuteronomist app 76 ears to have written his entire history from the defining position of anger. Rather than blaming Yahweh for the exile, the Deuteronomist presents rebellious characters after characters, and events after events in his story which justify Yahweh's anger in allowing Israel to go to exile.
In addition, Deuteronomistic history seeks to justify Yahweh's anger, and to also address the general anger felt by the various exilic communities against Yahweh for allowing the exile to have taken place in spite of Y ahweh's eternal covenant with the nation of Israel. In the centrality of anger in Deuteronomistic History, therefore, one may consider anger as an imposing "meta-emotional template" which informs and guides the writing of Deuteronomistic History 2 Kgs Seen from this angle, the scenes of anger scattered through the Hebrew narrative, particularly in Deuteronomistic history, help us to re-enter even though temporally into the overall emotional template which directly gave rise to the writing of the Deuteronomistic history in the first place.
Significantly, in angry exchanging scenes, the narrator stylistically presents the characters as seeking to manipulate, manage, and pacify characters in this volatile space. Even though biblical characters in angry exchange scenes are rarely represented with angry gestures of yelling, screaming, clenching of fist or other bodily manifestations of anger, the narrator gives appropriate speeches, acts and point of views to characters situated in angry exchanging scenes.
Consequently, while the biblical narrator is pre-modern, and historically imprisoned in the socio-political milieu of ancient Israel, his representation of the angry scenes and the attending characterization appear truly modern, since like his characters in the angry scenes, people in modern times also engage in the same habits of manipulating, pacifying and management of anger when confronted with similar circumstances.
In doing this, the narrator offers to both ancient and modern readers the aesthetic beauty, intrigues and complications of the angry scenes. By this same token, the representation of characters at the angry scenes clearly showcases a rudimentary understanding of the psychology of human anger by the narrator as clearly reflected by his intentional deployment of dialogues, point of views, and characterization at his representation of the angry scenes.
Armed with this psychology and knowledge of human nature, however, the narrator did not merely make reference to human anger as an important driving force in the plotting of his stories, but he deliberately attempted a replication of this complex human emotion on ink and paper through the description and placement of angry exchange scenes at significant crisis points of his stories.
In this way, the narrator significantly adds to the general complexity of the Hebrew narrative as well as its artistic beauty. The Art of Biblical Narrative. A New Translation of Genesis 3: Narrative Art in the Bible. American Indian Literature and the Pedagogy of Anger. Anne and Norman Miller. Caroline and Robert J. Narratives of Slander at the Church Courts of York.
What are the Psychological Mediators? The Stories about Naboth the Jezreelite: Emotional Experience, Expression and Representation. Edited by Aneta Pavlenko. Scroll of Esther and Exodus The Artistry of Anger: Black and White Women Literature in America, The University of North Carolina Press, A Case of Depression. Background of a Biblical Murder. A Literature Review and Meta-Analysis. Hobbs, Raymond, 2 Kings.
Word Biblical Commentary A Case of Unconditional Love? Language, Culture and Body in Human Feeling. Cambridge University Press, Reading like a Woman. Ohio State University Press, The Use of Gestures in Ancient Israel. The Blood of Abel: The Violent Plot in the Hebrew Bible. Mercer University Press, Developing of a New Taxonomic System. Oracular Ambiguity and How to Avoid It.
A Journal of Jewish Literary History 25 History, Social Setting, and Literature. Studies in Biblical Literature 2. David and the Deuteronomist: A Literary Study of the Deuteronomic History. Indiana University Press, Some Comments from a Research Project. A Note on Genesis 4.
A Sociological, Historical and Literary Introduction. Intertextuality, Balaam's Ass and the Garden of Eden. Quotation in Biblical Narrative. Indiana University press, The Phenomenon of Pan-Deuteronomism. Sheffield Academic Press, Anger and Its Control. Siegel, Allan and Jeff Victoroff. New Insights from Neuroscience. Virginia Woolf's Psychology and Deliberative Democracy.
The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading. Anger and Love in the Hebrew Bible.
Rhetorical Strategies of Jude's Narrative Episodes. Affective Defense and Predatory Attack. Volume 1 of Genesis.
Volume 2 of Genesis. Translated by John J. Yee Ho, Judy Woon. Cambridge University Press, , 3. Emotional Experience, Expression and Representation ed. Aneta Pavlenko; Clevedon, Ohio: Ramirez and Jose M. Caroline Blanchard and Robert J. While anger is often seen as a human emotion, the human race did not have complete monopoly of this emotion since the same emotion is also found among animals. See Pavel Linhart et al. McEllistrem, "Affective and Predatory Violence: For example, see John L. Study of anger in Jewish literature has also become popular. Ideological Literature and the Drama of Reading Bloomington: In recent times, the importance of "prototypical scenario" of anger in biblical narratives has also become common.
Gertel rightly observed that in the Bible "There is a very real and legitimate Divine anger that is at once terrifying and reassuring. It is terrifying in its intensity and power, and reassuring in its pure righteousness, both indignant and just, and in the possibility of atonement bringing God's forgiveness. Gertel, "Divine and Human Anger and Grace: It occurs most of the time in the HB with Yahweh as its subject.
Concerning this word, Van Wolde notes, "Remarkably, of the occurrences of these words in the Hebrew Bible, usages have a divine subject and express divine anger, whereas merely cases have a human subject, thus expressing human anger. They speak of a "theoretical confusion" in the study of anger. See also Dominic J.
Parrot and Peter R. In biblical narrative, there are perceived angry conversation that lacks a designation from the narrator. For example, in Gen 3, the narrator refuses to describe the exchange between Yahweh and Adam in terms of anger rather he described the scene in terms of fear v. The anger in this pericope is implicit and lacks the designation of the narrator. Consequently, the concern of the present paper is with conversations which have an expressed designation by the narrator rather than the ones where the sense of the character's anger is merely implied.
Benefiting from research in anthropology, sociology and psychology, historical investigation into the meanings and standards of emotions in the past continues to develop the interest in the self and the subjective characteristic of recent social and cultural history. Yet much of the historiography of anger has been subject to comparative analysis between early modern and modern affective standards, with rather less analysis given to the difficulty of accessing emotions in the past, or to emotions as lived experiences. For example, Linda M.
Grasso describes "anger as a mode of analysis, and anger as the basis of an aesthetic. Grasso, The Artistry of Anger: The University of North Carolina Press, , 5. Reading like a Woman Columbus: On the use of gestures in the HB see Victor H. Matthews, "Making Your Point: These words are not merely synonyms, but define anger in a different way. They select a dis- tinctive base on which anger is profiled and construe, therefore, this sentiment differently.
Thus, the nine pairs of words profile in biblical Hebrew aspects of anger on distinctive bases. Perspective is, therefore, more than point of view only; it is also a reflection of the selection an author makes out of biblical Hebrew language's conceptual pos- sibilities, and this selection is as determinative for textual meaning as focalization is.
To this end, Anne Campbell said, "Although anger may not be a necessary prerequisite for some forms of instrumental aggression. Examina-tion and Reformulation," PB A Meta-analysis," PB See also Alter, Art, The act of murder, unthinkable at one stage, becomes inevitable at another. Reis, "What Cain Said: Anthony Perry, "Cain's Sin in Gen. Durham, Moses' "anger is thus paralleled with the anger of Yahweh's response" in vv. Word, , On this stylistic use of the possessive pronoun in this passage see Bar-Efrat, Narrative Art, Concerning this unusual incidence, Savran observed, "The paradox of Israel's actual liberator addressing Moses as the one who brought up Israel from Egypt Ex When Israel is irresponsible, who will be responsible for Israel?
Quotation in Biblical Narrative Bloomington: Indiana University press, , SPCK, , See Gordon Wenham, vol. Gordon Wenham adds, "To blame her husband for her plight also smacks of impiety, for the OT regards children as the gift of God, not of man e. Prayer, not protest, should have been Rachel's reaction, as Jacob implies in his heated response, 'Am I in God's place, who has prevented your womb from bearing fruit? The "rivalry in turn is linked through analogy with the whole series of struggles between younger and elder brothers in Genesis, and the repeated drive of the second born to displace the firstborn, as Jacob himself had contrived to displace Esau.
See Reis, "What Cain Said," However, Aurin has observed that the "fallen face" of Cain implies the denial of somebody's request as made clear by its antinomy "to life someone's face. Kruger, "Depression in the Hebrew Bible: