"Gossiping as moral social action: a functionalist account of
gossiper perceptions".
to the other
gossipers and finally, toward the ideal, the
gossiper who
It also shows how
gossipers are meticulously scrutinizing the photographs for any information that might support their claims.
Confidently talk to everyone including the
gossiper, telling them that you know someone is spreading rumours and that these are untrue.
Gossip, Besnier tells us, always implicates more people than the
gossiper and his or her target, and the four central chapters of the book move progressively from microinteractions in the cooking hut to larger social spheres in which that talk has been consequential.
Playfulness collides with the violence of the "Troubles" in many of Carson's poems from The Irish for No and Belfast Confetti, such as "The Mouth," which opens with the line "There was this head had this mouth he kept shooting off." Smith comments, "The poem concludes, chillingly, with the literal application of the metaphor, the indiscreet
gossiper's face blown off by (wordplay insinuates) Provisional gunmen.
If it's premeditated, the
gossiper may play the sympathetic friend when you spill your guts about a big problem like a breakup, family tragedy, or divorce.
For gossip has no better veil to attenuate and conceal its viciousness than when the
gossiper implies that all he is saying are philosophical maxims, and that speaking ill is reprehending, and revealing the shortcomings of others is done with good intent.
Eight appendixes include: (1) Student Survey; (2) Counselor Survey; (3) Observation Checklist; (4) Agenda Book Activity; (5) "Odd Girl Out" Movie; (6) "Cliques, Phonies, and Other Baloney" Movie; (7) The
Gossiper Story; and (8) Cross the Line Activity.
"And it's often caused by jealousy and insecurities on the part of the persons initiating it." According to Thomas, having a reputation as a
gossiper can ruin the viability of an employee.
Neutralize the "
gossiper." In the long-term care environment, continual interaction is the norm, and the focus is on the mental and physical well-being of a vulnerable population.
It can amplify friendship between
gossiper and listener.
So what do we make of the condensed, ellipical comedy that results, in which Austen delights in making herself the carnally minded
gossiper, the whiner, the depreciator, the lover of a grievance--and sometimes makes Cassandra one as well?
