Polynesian Tradition Of Tattooing - Free Essay Example

Sample details Pages: 9 Words: 2651 Downloads: 4 Date added: 2019/04/26 Category Culture Essay Level High school Tags: Tattoo Essay Did you like this example? Used in the past and now the present, it causes a great deal of pain, it takes time, but in the end, it is all worth it. This is, Polynesian Tattooing. According to PBS, The actual tradition of Polynesian Tattooing existed more than 2000 years ago. Don’t waste time! Our writers will create an original "Polynesian Tradition Of Tattooing" essay for you Create order This is not your typical tattooing process. It can take months to complete the process and the pain is excruciating. Polynesian tattooing is sacred on the islands of Maori, Hawaii, Tahiti, Samoa, and Tonga. These tattoos are about being proud of your heritage. Ancient Polynesian Tattooing reflects tribe, family, and land. Despite the pain this process causes, Polynesians went through it as a way to honor the culture that they love so dearly, and modern Polynesians are now readopting the practices. A tattoo parlor in New Zealand discusses the origins of tattoo art in Polynesia, in addition to other historic information, such as, the origins of Polynesian societies, Tonga and Samoa, tools of the trade, the healing process, and placement on the body. In order to express their character and identity, Polynesians used tattoo art. In fact, These tattoos were full of distinctive signs, often indicating status in a hierarchical society as well as sexual maturity, genealogy, and ones rank within the society. Nearly everyone in ancient Polynesian society was tattooed. In Tonga and Samoa, Polynesian tattoos developed into a highly refined art (Polynesian Tattoo). For the Tongan people, tattoo art was extremely significant to them both socially and culturally. Additionally, in Ancient Samoa, tattooing was remarkable in terms of warfare and religious rituals. The healing process for these tattoos took almost a year. In the meantime, friends and family would have to assist the process becau se basic activities, such as sitting or walking, could be extremely painful. Lastly, the placement of the tattoo was very important. For instance, tattooing the head is related to themes such as, spirituality, knowledge, wisdom and intuition (Polynesian Tattoo). On the other hand, if one were to tattoo their lower arms and hands, they are showing creativity, creation, and making things (Polynesian Tattoo). Samoan Tattooing, along with the other Polynesian cultures, is an agonizing experience. Rite of passage caused men to undergo inking over a three or fourth month period. Then, the mans family threw a party to celebrate the completion of his pea, or tattoo, that stretched from mid-torso to the knees, and the tattoo master shattered a water vessel at his feet to signify that the agonizing experience had come to an end (DeHart). Then came the healing process. The tattoo would take up to a year to heal, whereas nowadays, it takes seven to 14 days (Quora). Imagine this scenario in real society. I believe that the desire to get a tattoo would be much less if in todays world, tattooing took up to a year to heal. People probably look forward to the fact that the pain will be over in as little as a week. In addition, the ordeal was so severe that death by infection was a legitimate concern (DeHart). Most men completed the process due to social pressure. However, those who surrendered to the a cute pain of tattooing were viewed upon as weak and faced humiliation among many. In addition, In ancient Polynesia, tattooing was fraught with taboos, steeped in social status, and imbued with deeply spiritual beliefs (DeHart). If this were very popular in my culture, I would most likely get tattooed because I would know how much this tradition means to my family, and I want to understand and appreciate the importance of it. In the article CULTURE LEAVES ITS MARK // CULTURE: Tattoos Help Keep Samoan Island Customs Alive among the Young in Orange County, Rosalva Hernandez introduces Samoan Misiaiti Togagae who reveals that he got tattoos because of the love he has for his culture and his people. I am proud to be Samoan, he says. Despite the pain, specifically the razor-sharp needles of a boar tusk comb into a pot of inky blue fluid that would agonize his body, Togagae got these tattoos to pay respect to his culture. In addition, among some Samoan youths who have grown up far from their native island, the tattoos have become a fad, much like tinted shades and skimpy shorts (Hernandez). He says that you must have the courage to do this. In particular, because of the pain it causes, like it did to Togagae, as he nearly bolted off the floor during his tattoo procedure. Similar to what Zealand Tattoo said, a custom for hundreds of years, the tataufrom which the English word tattoo is derived can symbolize a cl ans rank in Samoan society or a particular familys background, or merely a design chosen by the tattoo artist (Hernandez). Samoans are very designated to their culture as you can see with the pain they must go through to endure this procedure. Similarly, Maori Tattooing is where purpose and applications are sacred. In Maori Tattoos about Culture by Jared Nicoll, Ta Moko tattoo artist named Jackson Skipper tells what it is like to travel the country designing and drawing Ta Moko. The meaning of Ta Moko is Maori Tattooing. Ta Moko was like a history of a persons achievements and represented their status in their tribe. It was like a resume. It also served as a reminder to people about their responsibility in life (Australian Museum). As stated by Ta Moko artist Jackson Skipper, People need to understand traditional Maori tattooing is about being proud of your heritage, not glorifying gangs. Skipper was known to even have tattooed members of his own family, including his cousin Daniel Skipper, who he tattooed in a tent on family land in Waikawa (Australian Museum). Jackson skipper adds Its about being proud of your heritage. Over the last couple of years, Jackson Skipper has developed several tattoo designs, each reflecting e ach persons Iwi [tribe], their connection to the land, and their Whanau [family] (Australian Museum). In addition, Daniel Skipper says We feel good about doing it, good about getting it done, especially for the Whanau. In other words, he feels accomplished when getting a tattoo because he feels as if hes doing it for his family. Tahitian Tattooing was also a critical part of ones belonging to this culture. A source from a tattoo parlor in French Polynesia specifically describes the history of Polynesian Tattooing in Tahiti. The origin of the English word ?tattoo actually comes from the Tahitian word ?tatau and goes back as far as 1500 BC (POLYNESIAN TATTOO). Almost everyone was tattooed in ancient Polynesian society. It was a fundamental part of ancient Tahitian culture. Tattooing indicated ones genealogy and/or rank in society. It was a sign of wealth, of strength, and of the ability to endure pain (POLYNESIAN TATTOO). It takes two people to do the tattooing, one does the stretching of the skin and the other does the inking. All symbols in Tahitian tattoos are based on the 4 elements: ocean, earth, wind, fire. For each symbol, there is a sacred ceremony. A few commonly incorporated symbols include: turtle=fertility, dolphin=wisdom, tiki=protection. There were symbols specific to certain families and symbols unique to various roles. For example, the tattoos of warriors would incorporate symbols different than those of fishermen. Each symbol takes on personal meaning. There are symbols that represent the sea and symbols of the land, stability, travel etc. (POLYNESIAN TATTOO) These symbols were key in tattooing because they were specific to the culture and each person wanted to make sure they represented their home land. Tattooing in Tahiti is an act of sharing time and space among tattooists, tattooed people, and observers (Thomas et al). When Tahitians get tattooed, they often perceive the bodies of others and differentiate their tattoo art. In fact, when doing this, they identify uniformities and distinctions, and include and exclude each other according to the representation, experience, and social contexts of the tattooed body. Tattooing, as body inscription, is thus the embodiment and representation of identities and relationships resulting from the objectification of ones own body, and others, in a shared time and space (Thomas et al). Tattooing in the Tahitian culture is a process of establishing cultural, gender, occupational and age identities for young Tahitian tattooists and tattooed people. This is a different process from that which occurs when the knowledge of tattooing is ?heritage, passed from the elder people to the younger (Thomas et al). Due to a sporadic history of Tahitian tattooing, both people who are tattooed and young tattooists have been investigating and developing new forms of tattoos and skills both in and outside of Tahiti. The notion of ?tradition is, however, still significant since it boosts the social value of tattooing (Thomas et al). Tonga in particular has a long and complicated relationship to its traditional tattoos that have only begun to re-emerge as popular designs in the last 20 years (Ding). When it comes to Pacific Island cultures, tattooing has always been a central custom, and designs were commonly used to represent ones role within their community as well as a persons identity. In addition, The Tongan name for its tattooing tradition is Tatatau. While designs were certainly influenced by other Pacific cultures, they incorporated their own distinct patterns and meanings over the years in which they flourished (Ding). Although designs seemed to be alike in many ways, each tattoo for each person is unique and customized to the person. For men, Tongan tattoos are commonly placed from the torso to the knees. On the other hand, Tongan tattoos for women are composed of symmetrical lines across the thighs. Authentic tattoos are created using the traditional tools (made of bone and turtle shell) and designs ar e based on traditional markings. As several artists apprentice under current masters of the tradition as well as increased interest in the tradition evidenced by Tongans, this tradition looks like one that will endure (Ding). In January 1778, Captain James Cook decided to sail to the Hawaiian islands a decade after visiting New Zealand. When he arrived, he was anchored off the coast of the island of Kauai. On the shore, there were Polynesians who had been living here for over a thousand years. When James Cook arrived, they greeted him with surprising admiration. Their society, like all Polynesia, was governed by a strict kapu, or taboos, that regulated every aspect of their behavior (PBS). They dutifully worshiped a multitude of deities (gods), including Lono, the god of peace and agriculture. The people Cook encountered may have mistaken him for the physical embodiment of Lono since his ships masts and sails resembled the emblem of the god (PBS). Although cook left Hawaii and sailed toward North America, he had set the standards for the future of the Hawaiian people. Like other Polynesians, the Hawaiian people imported their traditional tattoo art, known as kakau, to the islands (PBS). It assisted them not only for decoration and differentiation, but also to guard their health and spiritual well-being (PBS). Hawaiian tattoos often mimics natural forms. Images of lizards, which were greatly respected and feared, and of the Hawaiian crescent fan (Peahi niu) for the highest-ranking members of society, dominated Hawaiian kakau. Intricate patterns, mimicking woven reeds or other natural forms, graced mens arms, legs, torso and face. Women were generally tattooed on the hand, fingers, wrists and sometimes on their tongue (PBS). The designs were applied by specially trained kahuna, experts in one or more critical tasks, who applied pigment to the skin with a needle made from bone, tied to a stick and struck by a mallet. Traditional designs varied widely, according to available records, but many memorialized fallen chiefs, leaders or family members (PBS). According to the dictates of kapu, the tattooing shielded with extreme confidentiality, and all tools and evidence were thrown out after use. This shows how sacred Hawaiians took tattooing in their culture. Although popular belief is that Polynesian tattooing was only used in the past, it is indeed used in the present, as seen with Tongan Tattooing. Tattooing for Tongans has been revived to the current day. While many artists and Tongans were interested in the tradition of Tongan tribal tattoos, there seemed to be very little information about this ancient craft. It was not until early 2002 that work began in trying to revive this art form. Specialist tattoo artist Sua Suluape Alaivaa who was well versed in Pacific tattooing, met with several Tongans in Hawaii with the purpose of looking into Tongan tattooing practices (Ding). Fairly soon after this meeting, two Tongans obtained the first traditional tattoos of their ancestors. These tattoos even received a traditional blessing to commemorate the occasion. Within a year, two more Tongans had received tattoos and tattooist Aisea Toetuu committed himself to being the first artist to specialize in specifically Tongan designs, ensuring that the tradition would endure (Ding). In comparison, a very famous man known as Dwayne Johnson, also known as The Rock, a producer, an American actor, and semi-retired professional wrestler, has a tattoo relating back to a Polynesian culture, Samoa. You might know him from movies, such as Baywatch, The Game Plan, or Skyscraper. Johnson has a big tattoo covering his upper left breast area and left shoulder. In a YouTube video, he describes the reasoning for his choices. He starts out by saying The story of my tattoo is a very elaborate story that of all the things I love and that Im passionate about and that move me from the heart. He talked to his tattoo artist for hours before the work was even started and then said a prayer before the process began. In total, it took 60 hours of work, three sessions, at 20 hours a piece. He tells us that its a story about his life and his journey. However, he says that bigger than him, his life, and his journey, are his ancestors and his culture on his Dads side, Moms side, his black c ulture, and his Samoan culture as well. He believes all the things that are important to him from his family and protecting his family, his ancestors, protecting all of us, the spirit of his ancestors. It represents great struggle and overcoming that great struggle, being appreciative of my success as we come up here to the sunshine and the sunlight thats on my neck. He concludes the video by stating As detailed and elaborate as this entire tattoo is that Im very proud of, it all comes down to three things, which is my family, and protecting my family, and having a very aggressive warrior spirit that you cant hold down and I will continue to fight and overcome, and that particular piece is over my heart. By this, we can see that Samoan Tattooing is still used in todays world. Tattooing was used in ancient Polynesian societies, such as Maori, Tahiti, Samoa, Tonga, and Hawaii for many different reasons. Although many tattoos may contain similar designs, they are each different, representing different stories behind them. Tattooing was used in Maori to reflect a persons tribe, land, and family. In addition, Tahitians did it to show signs of wealth, strength, and ability to endure pain (POLYNESIAN TATTOO). Samoans got these tattoos to show the love and respect they have for their culture and their people. Tongans used these tattoos to mark a persons identity and role within their community (Ding). Lastly, Hawaiians got tattooed to guard their health and spiritual well-being (PBS). These here are single reasons for each culture, so imagine how many more can differentiate the meaning behind these tattoos. There is so much more behind these tattoos than just a couple of designs. Despite the pain this process causes, Polynesians went through it as a way to honor the culture that they love so dearly, and modern Polynesians, such as The Rock in addition to many Tongans, are now readopting the practices.

The Discovery - 1146 Words

THE DISCOVERY THE DISCOVERY ‘The Discovery’, by J.C Squire describes a historical event: Christopher Columbus’s ‘discovery’ of the New World on his 1942 expedition across the Atlantic Ocean which initiated the process of Spanish colonisation. The poem has gone by several names including ‘The Caravels, ‘Sonnet’ and ‘There was an Indian’. John Collings Squire (J.C Squire) (1884-1958) was a British poet, writer, historian, influential literary critic and editor of the post WW1 period. He was also a leading poet of the Georgian period. The poem is a simple sonnet; made up of two quatrains and a sestet. The rhyme scheme is abab, cdcd, efegfg. The rhyme creates a steady, forward-moving motion similar to the movement of the†¦show more content†¦The images used in the stanza are simple yet vivid as can be seen through the image of the ‘Bellying cloths’ and ‘Fluttering coloured signs. The second quatrain is stylistically interesting because the poet is conscious of the different perspectives: that of the Indian man who tries to describe these unfamiliar objects by adapting them to those he is familiar with, and that of the reader who has a knowledge of history and immediately recognises the Indian’s attempt to describe the billowing sails, fluttering flags and ‘clambering crews’. The alliteration of the letter ‘k’ sound in the last line of the second stanza ‘And fluttering coloured signs and clambering crews’, reminds us of the confusion and c acophony created by the sailors as they prepare to land. The third stanza, the ‘sestet’, begins with the conjunction ‘And’, linking it to the previous stanzas. There is now a Volta as the focus shifts to the Indian’s reaction to the caravels. There is an even greater use of caesura which creates an abrupt and staccato rhythm which might reflect the fear that has overcome the Indian, maybe his accelerated heartbeat too. The Volta between the second and third stanzas is also evident in the rhyme scheme which suggests the inevitable, impending conclusion to this sighting as the caravels ‘Slant to the shore, and all their seamen land’. The final stanza draws a clear contrast between the native, who is ‘naked’ and ‘alone’ and the numerous sailors disembarkingShow MoreRelatedDiscovery Essay977 Words   |  4 PagesDiscovery Essay Discovery inhibits the ability to embrace new beginnings and accept a sense of change whether it is found or forced upon an individual. The places you travel and the people you meet can emotionally revolutionize a self-discovery through unexpected but anticipated terms evoked from curiosity. ‘Swallow The Air’ written by Tara June Winch and ‘The Thing Around Your Neck’ written by Chimamanda Ngozi Adichie break the inhibitions of vulnerability, as their ideas represented throughRead MoreDiscovery Essay758 Words   |  4 PagesDiscovery is uncovering what is not known. 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Second Foundation 17. War Free Essays

The mayor of the Foundation brushed futilely at the picket fence of hair that rimmed his skull. He sighed. â€Å"The years that we have wasted; the chances we have thrown away. We will write a custom essay sample on Second Foundation 17. War or any similar topic only for you Order Now I make no recriminations, Dr. Darell, but we deserve defeat.† Darell said, quietly, â€Å"I see no reason for lack of confidence in events, sir.† â€Å"Lack of confidence! Lack of confidence! By the Galaxy, Dr. Darell, on what would you base any other attitude? Come here-â€Å" He half-led half-forced Darell toward the limpid ovoid cradled gracefully on its tiny force-field support. At a touch of the mayor’s hand, it glowed within – an accurate three-dimensional model of the Galactic double-spiral. â€Å"In yellow,† said the mayor, excitedly, â€Å"we have that region of Space under Foundation control; in red, that under Kalgan.† What Darell saw was a crimson sphere resting within a stretching yellow fist that surrounded it on all sides but that toward the center of the Galaxy. â€Å"Galactography,† said the mayor, â€Å"is our greatest enemy. Our admirals make no secret of our almost hopeless, strategic position. Observe. The enemy has inner lines of communication. He is concentrated; can meet us on all sides with equal ease. He can defend himself with minimum force. â€Å"We are expanded. The average distance between inhabited systems within the Foundation is nearly three times that within Kalgan. To go from Santanni to Locris, for instance, is a voyage of twenty-five hundred parsecs for us, but only eight hundred parsecs for them, if we remain within our respective territories-â€Å" Darell said, â€Å"I understand all that, sir.† â€Å"And you do not understand that it may mean defeat.† â€Å"There is more than distance to war. I say we cannot lose. It is quite impossible.† â€Å"And why do you say that?† â€Å"Because of my own interpretation of the Seldon Plan.† â€Å"Oh,† the mayor’s lips twisted, and the hands behind his back flapped one within the other, â€Å"then you rely, too, on the mystical help of the Second Foundation.† â€Å"No. Merely on the help of inevitability – and of courage and persistence.† And yet behind his easy confidence, he wondered- What if- Well- What if Anthor were right, and Kalgan were a direct tool of the mental wizards. What if it was their purpose to defeat and destroy the Foundation. No! It made no sense! And yet- He smiled bitterly. Always the same. Always that peering and peering through the opaque granite which, to the enemy, was so transparent. Nor were the galactographic verities of the situation lost upon Stettin. *** The Lord of Kalgan stood before a twin of the Galactic model which the mayor and Darell had inspected. Except that where the mayor frowned, Stettin smiled. His admiral’s uniform glistered imposingly upon his massive figure. The crimson sash of the Order of the Mule awarded him by the former First Citizen whom six months later he had replaced somewhat forcefully, spanned his chest diagonally from right shoulder to waist. The Silver Star with Double Comets and Swords sparkled brilliantly upon his left shoulder. He addressed the six men of his general staff whose uniforms were only less grandiloquent than his own, and his First Minister as well, thin and gray – a darkling cobweb, lost in the brightness. Stettin said, â€Å"I think the decisions are clear. We can afford to wait. To them, every day of delay will be another blow at their morale. If they attempt to defend all portions of their realm, they will be spread thin and we can strike through in two simultaneous thrusts here and here.† He indicated the directions on the Galactic model – two lances of pure white shooting through the yellow fist from the red ball it inclosed, cutting Terminus off on either side in a tight arc. â€Å"In such a manner, we cut their fleet into three parts which can be defeated in detail. If they concentrate, they give up two-thirds of their dominions voluntarily and will probably risk rebellion.† The First Minister’s thin voice alone seeped through the hush that followed. â€Å"In six months,† he said, â€Å"the Foundation will grow six months stronger. Their resources are greater, as we all know, their navy is numerically stronger; their manpower is virtually inexhaustible. Perhaps a quick thrust would be safer.† His was easily the least influential voice in the room. Lord Stettin smiled and made a flat gesture with his hand. â€Å"The six months – or a year, if necessary – will cost us nothing. The men of the Foundation cannot prepare; they are ideologically incapable of it. It is in their very philosophy to believe that the Second Foundation will save them. But not this time, eh?† The men in the room stirred uneasily. â€Å"You lack confidence, I believe,† said Stettin, frigidly. â€Å"Is it necessary once again to describe the reports of our agents in Foundation territory, or to repeat the findings of Mr. Homir Munn, the Foundation agent now in our†¦ uh†¦ service? Let us adjourn, gentlemen.† Stettin returned to his private chambers with a fixed smile still on his face. He sometimes wondered about this Homir Munn. A queer water-spined fellow who certainly did not bear out his early promise. And yet he crawled with interesting information that carried conviction with it – particularly when Callia was present. His smile broadened. That fat fool had her uses, after all. At least, she got more with her wheedling out of Munn than he could, and with less trouble. Why not give her to Munn? He frowned. Callia. She and her stupid jealousy. Space! If he still had the Darell girl- Why hadn’t he ground her skull to powder for that? He couldn’t quite put his finger on the reason. Maybe because she got along with Munn. And he needed Munn. It was Munn, for instance, who had demonstrated that, at least in the belief of the Mule, there was no Second Foundation. His admirals needed that assurance. He would have liked to make the proofs public, but it was better to let the Foundation believe in their nonexistent help. Was it actually Callia who had pointed that out? That’s right. She had said- Oh, nonsense! She couldn’t have said anything. And yet- He shook his head to clear it and passed on. How to cite Second Foundation 17. War, Essay examples

Effect of Biases on Persuasive

Question: Discuss about the Effect of Biases on Persuasive Communication. Answer: Introduction: Natural hazards have started to threaten the residential safety and stability in several countries. Every year the frequency of natural disasters is escalating due to the trans-global urbanization and the residents are paying dearly for the unplanned developmental measures. The last year experienced destruction worth $175 billion all due to natural disasters. Strategic preparation has become an all time necessity to minimize the risks and cope with the consequences (Blaikie et al., 2014). Psychological input: Psychological support has emerged as an integral element of disaster management program. Studies suggest that more than 70-90% of people are not persuaded by disaster preparation alerts they receive and that inevitably increases the scale of destruction (Blaikie et al., 2014). This report aims to evaluate how psychological input regarding social cognitive biases and persuasive communication theories can develop persuasive strategies that can influence better public engagement. Types of cognitive biases: A cognitive bias can be defined as a systematic pattern that influences deviation from rationality. Normalization bias urges people to deprecate both the possibility of a hazard and its possible consequences. Unrealistic Optimism is another common bias that leads an individual to believe that they are at a comparatively lesser risk of negative impact than others are (Keating et al., 2014). Effect of cognitive biases: The highest number of unnecessary deaths in a disaster is caused by normalcy bias, which makes it one of the deadliest biases. It causes the individuals to drastically underestimate the aftermath of a catastrophe by creating a cognitive dissonance in the subconscious of the individuals, which then drives them to eliminate it by either refusal or denial (Petty, Ostrom Brock, 2014). For example when people refuse to evacuate even when there is eminent threat, it defeats the purpose of disaster planning. Dispositional optimism is a result of irrational and unrealistic perception of a situation that may affect an individual directly or indirectly (Keating et al., 2014). Optimistic bias often leads to faulty procession of risk related information by individuals, which inescapably intervenes with the safety measures taken by the disaster management task force. Overcoming cognitive biases: The best method to combat the biases is to apply theories of persuasive communication of social psychology. The term persuasion refers to ways of influencing the perception and behavior of individuals, utilizing an appeal to their emotion (Gutteling, 2015). The theories are based on different rational models, designed to influence people to behave in the predictable ways (Blaikie et al., 2014). The response to a disaster depends on the understanding of the impending risks, which is linked to the conflicting hopes and beliefs of individuals. The principles of persuasive communication state that it is impossible to generate adequate response in the mass by just delivering the alert message when the mass is in denial (Petty, Ostrom Brock, 2014). In order to generate appropriate awareness the message needs to target their perception of risk and grab the attention of the people by a clear, assertive and informative message so that they realize the extent of destruction their ill judgment can provoke (Gutteling, 2015). Conclusion: Natural disasters are characterized by their element of surprise; hence, there will always be destruction. The purpose of disaster management is to minimize the scale of destruction as much as possible. The entire process of risk management depends on the cooperation of the public and when biased perception influences better judgment of the public, it defeats that purpose. As a social psychologist, I can conclude that the underlying cause for these biases are lack of clear understanding in the general public and lack of transparency from the authoritys end. Application of persuasive principles is the only way to bridge the gap and create awareness in the general mass so that they understand the continuous threat of hazards they live in. References Blaikie, P., Cannon, T., Davis, I., Wisner, B. (2014).At risk: natural hazards, people's vulnerability and disasters. Routledge. Fischhoff, B. (2013).Risk analysis and human behavior(Vol. 26). Routledge. Gutteling, J. M. (2015).Risk communication. John Wiley Sons, Inc.. Keating, A., Campbell, K., Mechler, R., Michel?Kerjan, E., Mochizuki, J., Kunreuther, H., ... Williges, K. (2014). Operationalizing resilience against natural disaster risk: Opportunities, barriers and a way forward.Zurich Flood Resilience Alliance. Petty, R., Ostrom, T. M., Brock, T. C. (2014).Cognitive responses in persuasion. Psychology Press.