The Happy Man Essay Example

The Happy Man Paper  «Life is full of compensations » Somerset Maugham William Somerset Maugham is one of the best known English writers of the 20th century. William Somerset Maugham (1874-1966), a well-known English novelist, short-story writer, playwright and essayist, was the son of a British diplomat. He was born in 1874 in Paris and educated at Kings School in Canterbury, studied painting in Paris, went to Heidelberg University in Germany and studied to be a doctor at St. Thomas Hospital in England.Although Somerset Maugham did not denounce the contemporary social order, he was critical of the morals, the narrow-mindedness and hypocrisy of bourgeois society. Maugham became internationally celebrated; his plays were performed all over the world. Now independent and well able to enjoy life Maugham began to travel. He traveled a lot and spent long periods in the United States, the South Seas and China. But his favourite country was Spain and a great deal of his works devoted to it. For instance  «The Happy man » that was written in 1927.Somerset Maughams style of writing is clear and precise. He does not impose his views on the reader. He puts a question and leaves it to the reader to answer it. When criticizing something he sounds rather amused than otherwise. I’d like to analyze the text, which is entitled â€Å"The happy man†. The author is William Somerset Maugham, an English writer. He wrote novels, short stories and plays and most of them had a great commercial success. He is known to have explored many professions including doctor, spy, and playwright.There are many biographical details in his stories and characters, for example in the text â€Å"The happy man† the narrator and the second main character are the doctors; and the narrator is, at the same time, a writer, because he wrote the book about Spain, and the story itself in some way concerned with the process of travelling. The genre of the story is narration. The theme of the novel is t he act of giving advice. At the beginning of the story the author reflected on the subject of life, destiny and the problem of giving advices.He stated that it was dangerous thing to order the life of others. Anyway, the author knew that once he had advised well. One day a stranger visited him, his name was Stephens and he was a doctor. Because of the fact that the narrator wrote a book about Spain, Stephens wanted to figure out information about it, he planned to live there. Stephens told the narrator the story of his life; he wanted to change it and asked the narrator to give him advice. The narrator told him if he did not care of money but was content to earn to keep body and soul together then he could go.Stephens left him and the narrator forgot about that episode. Many years later the narrator was in Seville and had to see a doctor because of some indisposition. The doctor happened to be Stephens. The narrator learnt of outcome of his advice. Stephens thanked him, because he f ollowed the narrator’s advice and was satisfied with his life. The plot structure shows the actions of the characters, presenting events in chronological order. The exposition in the text is the philosophical reflection given in the first paragraph.Inciting incident is the visit of Stephens in order to talk to the narrator. The risking actions, such as development, are the monolog of Stephens about his life, the explanation why he wanted to visit Spain. Climax is the act of giving advice. The falling actions are the event when the narrator went to Seville, the need to see a doctor, because of the narrator’s indisposition, the second meeting of two main characters. The resolution is the process of getting knows the outcome of the act of giving advice, that it was a good outcome, the description of happy Stephens.The denouement is made up of Stephens’s thoughts about his life. Speaking about the main characters, there were two main characters: the narrator and Ste phens. The narrator of the story was described indirectly and Stephens – directly and indirectly. The direct description means that the author himself tells us what this or that character is like. The indirect one is when the character is revealed through actions, thoughts, speech and appearance.The narrator was a round and dynamic character, that indicates the idea that his character was complicated and exhibited numerous traits, he seemed like a real man; his dynamics was seen in the structure of the text: in the first paragraph there was stated that giving advice is a dangerous thing, but the whole story showed the positive outcome of the act of it. The narrator, first, was willing to give the advice, he was a little bit careless, but in the introduction he decided that it was a dangerous thing, he changed his views. The narrator was a doctor, but he did not practice. Instead of it he travelled and wrote a book about Spain.I can say that he preferred writing to medicine, h e was versatile, liked to try new things and feelings, and he was interested in life. Some time later he did not want to give advices, so he was not eager to take responsibility for other people’ lives; it does not mean that he was a coward; it means that he did not want them to do unchangeable mistakes in their lives. He was observant, because he managed to define each feature of Stephens’s appearance and behavior, each detail of Stephens’s consulting room. He liked to listen to other people stories of their lives, he was not indifferent.He gave a good advice to Stephens, so he was wise enough. He creates the image of the writer. The writer, who likes to travel, because he needs to find new themes for his novels, he is interested in life, that is he is not indifferent and he reflects a lot. Stephens was a dynamic character; he changed by events, by interactions with other characters. As the narrator said Stephens seemed a trifle embarrassed, so Stephens was shy . He dropped his umbrella he was clumsy and he was not confident. His quick, sharp movements were stand for his being nervous and absent – minded.His apologetic laugh and the way he talked to the narrator (â€Å"I hope you don’t mind my coming†¦Ã¢â‚¬ , â€Å"I hope you won’t think it very odd for a perfect stranger†¦Ã¢â‚¬ ) showed that he was polite. It is interesting that Stephens told the story of his life to a perfect stranger. It makes us thing that he was somewhat careless, or may be was so dissatisfied with his life, he wanted to change it, but could ask for a help only â€Å"a perfect stranger†. He used 7 sharp, short sentences in his monolog, 4 of them were negative – it proves the fact that Stephens was very unhappy, he decided that the negative things prevailed in his life.There was repetition in his speech, this repetition made the readers feel the boredom of Stephens’s life. He mentioned only facts, spoke using per sonal pronoun – it shows Stephens’s self – centrism. These monotonous sounds, expecting of better life, the feeling of boredom illustrated a person who is completely fed up, there were no emotions in his monolog about the life. But when Stephens spoke about Spain, he spoke differently: the sentences were affirmative, impersonal – it signifies that in Spain he tried to find the solution of his loneliness.Stephens compared sunshine with warmth, wine with cheerfulness, colour with interest, emotions, air with freedom – all that let us see how Stephens was despite and how he did not like his life. We should say that Stephens’s dreams were illusive, but still down to earth; they were close to the material world. A contradiction of the nature of Stephens’s dreams signifies the instability in his inner state. Stephens talked differently about his present life and life he hoped to have in Spain, this contrast stands for the suggestion about t he instability of his character.As we have mentioned Stephens was a dynamic character, his dynamics is clearly seen through the text. There were 3 stages of Stephens’s development. The first was presented before Stephens decided to visit the doctor; his life was boring and uninteresting. He worked a lot, there were no emotions in his living, and he could not stick it anymore. The second stage was observed in Stephens’s being doubt, hesitated, and at the same time courageous. He was not sure that had decided right about Spain, he was on the edge and that is why he came to the narrator.The last stage was seen when the narrator was in Seville, he met absolutely another Stephens. Stephens who was a happy man, he had an â€Å"entirely sympathetic appearance†, he smiled a lot, may be he was not a very qualified doctor (the narrator thought that one might have hesitated to let Stephens remove his appendix, but one could not have imagined a more delightful creature to d rink a glass of wine with), but he was a good companion, he became an extravert and he was in harmony with surroundings. So to sum it up, Stephens creates the image of a dreamer.A dreamer is a person, who gets an illusive idea of happiness, it is not material, it is life in harmony. Now let’s pass over to the style of the text. It is complicated and emotional. Firstly, neutral, formal and literary words prevail in the text, for example: â€Å"to surmise†, â€Å"to errand†, â€Å"to dissipate†, â€Å"trifling indisposition†, â€Å"to perceive†. They are used mostly by the narrator, and it shows that he was educated. Secondly, a few stylistic devices can be found in the text, such as epithets, simile, metaphor, irony, parallel constructions which are used in order to attract more attention to the story.The epithet, represented by adjective, characterizes an object, some of the properties or features of the object and displays the writerâ€℠¢s emotional attitude. For example: â€Å"a perfect stranger†, â€Å"a bullet – shaped head†, â€Å"a bacchanalian smile†. The epithets create more colourful description of Stephens’s appearance. Simile characterizes one object by bringing it into contact with another object belonging to an entirely different class of things: â€Å"as though he knew a good bottle of wine†¦Ã¢â‚¬ ; â€Å"he had somewhat the look of a young Silenus†. These examples stand for the fact that Stephens has changed in Spain, he became cheerful and merry.Metaphor based on the principle of identification of two objects, it is transference of some quality from one object to another: â€Å"the look of a young Silenus†. Moreover, the author uses metaphors in the narrator’s speech: â€Å"a prisoner in the solitary tower†, â€Å"the dark cloak of Destiny†. Parallel constructions presented in Stephens’s speech: â€Å"I was broughtâ € ¦I’ve never been†¦I’ve never done†¦I’ve been†¦I have†¦Ã¢â‚¬  they create a monotonous tone of Stephens’s speech; â€Å"there’s sunshine there, and there’s good wine, and there’s colour, and there’s air you can breathe† – they create atmosphere of Spain, it is some kind of wonderful place.Irony produces a humorous effect. It is based on contrary concepts, on the simultaneous realization of two logical meanings, but they stand in opposition to each other. For instance, the narrator uses irony in Stephens’s behavior during their first meeting: â€Å"He seemed a trifle embarrassed. I offered him a cigarette and he had some difficulty in lighting it without letting go off his hat. When he had a satisfactory achieved this feat I asked him if I should not put it on a chair for him.He quickly did this and while doing it dropped his umbrella†; then when the narrator met him in Sevill e: â€Å"You might have hesitated to let him remove you appendix, but you could not have imagined a more delightful creature to drink a glass of wine with†. The stylistic devices make the text more expressive and vivid. Additionally, the third element of the style is syntax. It is complicated. The author through the narrator’s speech reflected on the subject of life, destiny and giving advices and because the paragraph was a philosophical one he used composite sentences, they show complicatedness of the author’s thoughts.We found simple sentences in Stephens’s monolog they have simple, uninteresting ideas of his life; 4 of sentences are negative, they mean denying of the facts. The main idea of the story can be expressed like this: giving advice is dangerous, because people are different, they have their own individuality, if your advice is a bad one, it may cause disharmony between Destiny and Life, and the result of this conflict is unhappiness, if the advice is good, then everything is visa versa (a good advice creates harmony, Destiny finds the correct realization in Life and this composition brings happiness).All concepts, such as Destiny, Life, Harmony, Happiness, Unhappiness, Giving advice, are interconnected and interrelated. Stephens came to the narrator for a piece of advice, he was unhappy, he decided to change his life. The narrator did not care much of the dilemma if his advice would be a good one or not. He did not think that it might change Stephens’s life, and that could cause disharmony between Destiny and Life.Fortunately, the story has a happy end, because the narrator’s advice was good, Stephens changed Life, but Destiny found right realization in it, it brought Harmony, which caused Stephens become happy. In my opinion, it is an interesting story, as all the stories of Maugham are. The author’s style is exact, economical and expressive. Maugham knew how to keep readers’ attention. It was interesting to read how one man decided to change all his life, give up a good safe job for his dream. While reading I was glad that Stephens went to Seville and became happy there.Moreover, this story made me think that one who gives advice should know the person and the situation very well before doing it, because everyone needs an individual care. If your advice won’t be a success then a bad outcome will be yours mistake, so you should feel responsibility of the fact that you may change one’s life. Precisely, I enjoyed reading this story. Realistic portrayal of life, keen character observation, and interesting plots coupled with beautiful, expressive language, simple and lucid style, place Somerset Maugham on a level with the greatest English writers of the 20th century

Beowulf and 9-11 essays

Beowulf and 9-11 essays Parallels between Beowulf and the World Trade Center Tragedy Beowulf, the story of a single man who brings a super power to its knees is a story that is cliched many times in contemporary works. In the wake of the recent tragedy involving the World Trade Center I believe this epic takes on a whole new meaning. As previously stated this story of a single man by the name of Beowulf who has an unlimited amount of respect from his people and loyalty toward his country decides to attack an immovable super power by the name of Grendle. To parallel this to the recent tragedy I would associate Beowulf with Osama Bin Laden and Grendle with the United States of America. This comparison might offend many people but I believe that with much unbiased thought the connections are undeniable. First of all Grendle is a hated individual with an unprecedented amount of power, too much of the world mainly Arabic and Islamic nations this is exactly how the United States is perceived. At the beginning of this epic Grendle makes the first strike and attacks helpless civilians, much like what the United States did during their bombing raids of Arabic nations such as Iraq and Afghanistan and even during the Vietnam war an example of that would be the massacre at May Lai. Then came the coming of Beowulf a man who most likely unfamiliar to Grendle, Beowulf took Jute civilians and trained them to fight and not fear Grendle, much like how Osama Bin Laden trained and funded Arabic and Muslim civilians to fight and not fear the United States, also Osama bin Laden was a very obscure individual to many Americans before this weeks tragedy. During the battle between the two enemies, Beowulf mortally wounds Grendle and the beast crawls back to its lair to recover and to plan its next attac k. In relation to last weeks situation, Bin Laden wounded Americas economy and pride and as of late America has been plotting its next move against Bin laden and the Arab...

Major contributor to operations management Research Paper

Major contributor to operations management - Research Paper Example This is a philosophy invented by Dr William Edwards Deming born in 1900and later became an American statistician, professor, author, lecturer and consultant. Deming received a BSC in electrical engineering from the University of Wyoming at Laramie (1921), an M.S. from the University of Colorado (1925), and a Ph.D. from Yale University (1928). Both graduate degrees were in mathematics and physics. Deming had an internship at Bell Telephone Laboratories while studying at Yale. He later worked at the U.S. Department of Agriculture and the Census Department. While working under Gen. Douglas MacArthur as a census consultant to the Japanese government, he famously taught statistical process control methods to Japanese business leaders, returning to Japan for many years to consult and witness the economic growth he had predicted would come as a result of the application of techniques he had taught them. As an author Deming wrote Out of the Crisis (1982–1986) and The New Economics for Industry, Government, Education (1993), which includes his System of Profound Knowledge and the 14 Points for Management. In 1947, Deming was involved in early planning for the 1951 Japanese Census. The Allied powers were occupying Japan, and thus asked by the United States Department of the Army to assist with the census. While in Japan In 1960, the Prime Minister of Japan (Nobusuke Kishi), on behalf of the then Emperor Hirohito, awarded Deming Japan’s Order of the Sacred Treasure, Second Class recognizing his contributions to Japan’s industrial rebirth and its worldwide success. Demings expertise in quality control techniques, combined with his involvement in Japanese society, led to his receiving an invitation from the Japanese Union of Scientists and Engineers (JUSE). A number of Japanese manufacturers applied his techniques widely and experienced heretofore unheard-of levels of quality and

Individual Report and Reflection Coursework Example | Topics and Well Written Essays - 1500 words

Individual Report and Reflection - Coursework Example The reflection portion would proffer personal opinion about the experience gained from the small business endeavour and how one would benefit from it in the future. One’s group which is composed of five members decided to choose Salah Adden mosque and sell tradition product from Saudi Arabia which is (subha). The purpose of the small business is to earn moray for donation to a chosen charity and enable making some reforms in the Salah Adden mosque. The report would be structured by initially discussing the planning phase where the profile of the charity event was organized and decided on. Intricate details were eventually noted to incorporate pre-event marketing information like the 4Is applied in the project; operational details; clearly defined objectives and group goals; market research; and the relationship to various stakeholders. The outcome of the event would also be revealed in terms of the financial performance and the lessons learned from the experience. Profile of t he Charity and the Community Involved The chosen charity as beneficiary for the proceeds of the subha sales is the Salah Adden mosque located in central London. ... served by friends included praying five times a day on the mosque and would therefore enable the group to facilitate contact and correspondences with authorized mosque personnel to implement the charity and donation and monitor the changes on the proposed improvements, as indicated. In this regard, the objectives and goals of the group and of the event are as follows: Group Objectives: To organize and implement a fundraising event through buying and selling of Muslim prayer beads (subha) and donate the proceeds from the sales to the Salah Adden mosque. The proceeds are proposed to be spent on carpets and adding more shelves on the mosque’s furniture and fixtures. How the Activity/Event Evolved, Planned and Promoted How the Fundraising Idea Evolved: The group has initially agreed on selling a particular product to raise funds for donation to the Salah Adden mosque. Each member in the group gave an idea about proposed products to sell. One member suggested selling some cake and drink; while another member said it would be better to sell stationary to address the students’ needs. Finally, from the suggested product list, the group decided to sell Subha, prayer beads for Muslim people for the reason that it is unique and the target customers would be interested in it. The proposed target market is the Muslim students of the University. The Planning Phase: The planning phase included the development of the business plan (Annex A) and a market research. The market research required application of the 4Ps theory where details of the product, price, place and promotions would be closely evaluated, strategies designed and explicitly stated for clarity of direction in implementation (Carter and Jones-Evans, 2006; Nwankwo and Gbadamosi, 2011). The brief market research

How imagery is used in Emily Dickinson's Because I could not stop for Essay

How imagery is used in Emily Dickinson's Because I could not stop for death - Essay Example As one makes their way through the lines their emerges an imagery reflective of Dickinson’s Christian belief in the afterlife and a poignant picture of how she views death will come, where it will take her, and a hopeful projection of eternity. Dickinson often dealt with universal themes in her poetry, exploring events at times extremely personal and specific. Death is one of them. In it Dickinson, a Christian, uses the fine art of imagery to make the feared concept of death into something to be less feared and more something inevitable to contemplate as an expected and welcomed friend—a friend that guides us to the glorious afterlife. Because I could not stop for death, He kindly stopped for me. It is the non-threatening, positive image, if you will, reflecting the fact that the individual has little control over when death will come, but death, in its inevitable way, â€Å"stops,† interrupting it’s path, and takes the chosen one along with it to a better place. In addition to the use of the word â€Å"kindly,† she adds the image of Civility, a different image in that kindness requires empathy, where Civility requires a concerted effort to assuage a difficult situation in the interests of doing just that. We slowly drove-He knew no haste. Death, recognizing her reluctance and perhaps fear to accept her fate, did it’s best to civilly sooth the journey—turning an otherwise negative event into one at least palatable. The use of poignant images from life stir the heart, as Dickinson obviously intended. Who can not relate to thoughts upon death of their childhood, their schoolyard: Recess-in the Ring-We passed the Fields of Gazing Grain-We passed the Setting Sun- [itself obvious imagery used to convey life’s cycles from beginning to end, and the setting of life ebbing]. With the next line, she hardens the image of the sun with the use of words such as Dews drew quivering and chill as the impending reality of death and its finality nears.

Spanish Cinema During The Dictatorship

Spanish Cinema During The Dictatorship Spanish cinema was highly affected by the effects of the civil war; private investment in the production of commercial films fell drastically. The country was divided in two areas which were facing the effects of having military forces. This situation was reflected specially in the movie industry because at the time no-one wanted to invest in any new projects. Nevertheless, movie theatres in the whole country were doing extremely well all through the war; they were screening local productions as for example, Florià ¡n Reys clichà ©d Morena Clara (1936) and also, they were importing popular American productions. The Republican, who had the control over the principal centres of urban movie-making, gave authorization for the production of more than 200 films during the conflict. However, at the beginning of 1938 it started to be perceived that the Republican government was going to be defeated and therefore several members of the film industry started to organize their departure; most of them were Republican supporters. The directors Luis Alcoriza, Luis Buà ±uel, Carlos Velo, etc; also many actors as for example, Josà © Luis Baviera, Margarita Xirgu, Ana Marà ­a Custodio, Alberto Closes, Rosita Dà ­az Gimeno, Carmen Amaya; accompanied by a huge group of technicians such as the editor Josà © Caà ±izares, the camera operator Josà © Marà ­a Beltrà ¡n and the majority of the team members who were in charge of Andrà © Malrauxs Lespoir: Sierra de Teruel, migrated from Spain to countries such as: France, Argentina and Mexico. These were countries in which Spanish speakers had the opportunity to continue their work in the film industry. The director Buà ±uel was the perfect example of someone that was able to adapt to a life forced out of Spain. After he was exiled in 1946 he decided to go to Mexico and in 1949 became a Mexican citizen. However a large list of film makers who had started their careers under the Republicans and were sympathizers of the democratic government stayed at Francos side for example, Juan de Orduà ±a, Antonio del Amo, Benito Perojo, Florià ¡n Rey, Edgar Neville, Eduardo Garcà ­a Maroto, Rafael Gil, etc. The civil war finally ended on April 1939; afterwards Spain assumed a military dictatorship with General Franco in command. Obviously, the new management of the Spanish cinema industry during the dictatorship had a very negative repercussion on the film industry and could only lead to the best opportunity for those who were in the power to commit several crimes such as fraud, patronage, use of favours etc. It is important to highlight the fact that in 1940 three main official regulations were established and then submitted leading to the Spanish film industry to suffer the side effects of these intransigent regulations for many years. These regulations were: Compulsory dubbing Official state newsreel Film censorship Spanish Cinema during the dictatorship: Film Censorship Film censorship had been presented to Spain when the country was still facing the civil war in 1938; then in 1939 during the dictatorship of Franco it was stipulated all through the nation. During this period all film scripts had to endure a pre-censorship, shooting scripts had to be approved and Spanish films were required to have an exhibition licence, changes to image and sound tracks, cuts in completed movies were as well imposed and there was authorization of dubbing and subtitling. Film censorship was characterised for its inefficiency, for not being consistent when making decisions, and also for being arbitrary in its choices. Nevertheless it is difficult to establish if censorship caused the same impact on Spanish cinema as compulsory dubbing. Compulsory dubbing into Spanish and the taxation of all films that were imported from foreign countries were introduced by the industry and commerce ministry in April 1941. These two measures are normally seen as a consequence of Axis satisfactory results during the Second World War. However it seems to have more connection with Francos constant attempts to Hispanicize Spanish culture. At this time over 50% of the public couldnt read or write and most of Spain only spoke Spanish and didnt speak any other language and therefore Spanish film viewers soon got used to watching foreign films in dubbed Spanish. The film industry quickly realised that they could produce more profit from dubbed films than from using subtitles in films; as a result it was easier for censors to manipulate soundtracks and images. Nevertheless, compulsory dubbing drastically affected the country; economically and industrially. It caused a great damage to Spanish film productions; the main reason was that Foreign and Spanish films were in a position of equal accessibility to Spanish audiences and thus distributors and exhibitors abandoned essential elements in the effort to defeat international competition. Furthermore, the importation of international productions for distribution and even for exhibition was determined by the concession of import licences to national film producers. These licenses were given by official organisations to national film makers depending on the ideology of their productions. It was typical that the producers who supported Francos regime who behaved in a moderate and morally acceptable way would obtain three or five import permits. However, there were some films for example; El davo (1944) directed by Rafael Gil and El escà ¡ndalo (1943) directed by Josà © Luis Sà ¡enz de Heredia that won fifteen licences. Then these were sold for a lot of money, normally through the illicit black market, mainly to distributors from America who were based in Spain. The Spanish audience seemed to prefer foreign productions and therefore producers became very rich from selling import permits. This was also true for the distributers and exhibitors who also became very wealthy from screening foreign movies. As a consequence of this, for about ten years, the Spanish film industry was only used as a simply way of making very good profits from selling import licences. Spanish industry started suffering the consequences of a new law: compulsory official newsreels commonly recognised as NODO which was presented in December 1942 and had to be screened in all cinemas in Spain. This was basically political publication; propaganda used by the regime that had as its main purpose to influence Spanish people by the use of inaccurate information. NO-DO which is the acronym for Noticieros y Documentales Cinematograficos was used instead of the Italian and the German newsreels in cinemas in Spain and was compulsory until 1976. Unluckily, the mandatory introduction of NO-DO newsreels in Spain efficiently excluded a large number of younger national film-makers from presenting their work to the public such as, animation, documentaries or shorts and this certainly discouraged others to study in these areas. To lessen the gravity of the disastrous effects of the NO-DO policy, the regime presented a list of new protectionist measures that benefited the Spanish film industry. The following are some of these measures: Revised classification schemes, screen quotas (initially one week of Spanish film for every six of a foreign film). Official loans with which to finance up to 40 per cent of a film budget. Official prize of 400.000 pesetas. National interest awards for deserving films. Until about 1945, the regime of General Franco had its favourite film genres, especially one called cine de cruzada or films inspired by war, which also commemorated the Franco regimes victories in the civil war, disapproved the defeated Republican and celebrated the power of the armed forces, the religious, and colonialist values of the new people who ruled the country by that time. These films included: Escuadrilla (1941), Boda en el infierno (1942) and Los à ºltimos de Filipinas (1945), all directed by Antonio Romà ¡n.  ¡Harka! (1941) directed by Carlos Arà ©valo, El crucero Baleares (1941) directed by Enrique del campo and Juan de Orduà ±as  ¡A mà ­ legià ³n! (1942). There was especially one film called Raza (The Race) (1942) directed by Josà © Luis Sà ¡enz de Heredia which was without doubt one of the more significant films for the genre. Towards the end of 1940 and As the nation came to terms with the dramatic repercussions of the bloody civil war that had just ended, and while the rest of Europe engaged in its own devastating conflict, Franco found the time to write a brief novella entitled Raza. Published under the pseudonym Jaime de Andrade, Raza was structured like a screenplay and clearly intended to be made into a film; a semi autobiographical film, reflecting aspects of Francos real life. In 1945 with the foreseen defeat of the Axis, the descent in influence of Falange (Political organisation) and the ideology adopted by Franco of National Catholicism, the principles of the cine de cruzada was transformed into different nationalist genres. These also contained the period drama, the folkloric comedy, the historical movie, and the religious film. Comedies seemed to be preferred by the box office, the reason being this genre of film was the most popular and therefore the most profitable; especially films directed by Edgar Neville, Rafael Gil and Josà © Luis Sà ¡enz de Heredia who produced many clichà ©d, bullfighting films and folkloric musicals. These types of films were characterised for their poor quality and being cheerful in nature and having low production values. However, these films were produced for easy viewing; also, audience had the opportunity to participate. These were vehicles which were created around the best singers of that time, for example, Juanita Reina, Carmen Sevilla, Lola Florez, Paquita Rico, Currito de la Cruz, and Conchita Piquer as in Florià ¡n Rey La Dolores (1940). Yet in a time in which international isolation and repression for its fascist supporters was very common, the regime encouraged film producers to use the great national symbols of old and resist using anti-Spanish symbols in a serie s of bulky over produced biopics, commemorating distinguished Catholic heroines as in Juan de Orduà ±a Locura de Amor (Love Crazy) (1950) and La Leona de Castilla (The Lioness of Castille) (1951), and Reina Santa (1947) a film about a virtuous Spanish princess who becomes the Queen of Portugal directed by Rafael Gil. Along with these theatrical and historical films, we also see a strong Catholicism and missionary colonialism theme running through the cinema at this time, such as Misià ³n blanca (1946) directed by Juan de Orduà ±a, and then there were the prototypes for the sentimental, religious dramas of the early 1950s with films like Balarrasa (Reckless) (1951), A mans harrowing experience in war which turns him to God for salvation and he becomes a Priest) directed by Josà © Antonio Nieves Conde. It is worth mentioning that the same Falangist director, Josà © Antonio Nieves Conde, directed Surcos (Furrows) (1951), dealing with the fatal repercussions of leaving the old country and implications of migrating to the city. This film seemed to symbolise the realist cinema which was more relative to daily life in Spain and to the Spanish people, issues of lower orders, and presenting social problems that were entirely absent from Spanish cinema screens. Surcos was also the cause of strong disagreements between Falangism and conventional Catholicism because in 1951 Josà © Marà ­a Garcà ­a Escudero who was the General Director of Cinema at the time, denied to give the national interest award to Juan de Orduà ±as Alba de America (Dawn of America) (1951) as he preferred Surcos instead. As a consequence of this, Escudero had to leave his position as General Director of Cinema and Orduà ±as historical epic was awarded instead. This was an indication of the regime position towards f ilm makers who had the courage to defy the regime baring the less appealing, problematic side of social issues in Francos dictatorship. Realism had gradually returned into Spain through the weird example of Italian neo-realism and soviet cinema at the end the 1940s, it had sneaked into university film programmes. These types of films found great acceptance among some disillusioned Falangist film makers in the new, official film school, which was created by the regime and founded in 1947. Originally, the regime permitted the establishment of the Instituto de Investigaciones y experiencias cinematogrà ¡ficas (Institute for Film Research and Experiment) by means of forcing control on professional access to the film industry. In 1962 its name was changed to Escuela Oficial de Cine (Official Film School) and represented its programme on the curriculum for the Italian Centro Sperimentale in Rome. The IIEC was known for its lack of good teaching standards, and poor resources. However, the IIEC acquired 109 students just in the first year of its foundation; many of these pupils played important roles in the film industry movements in the 1950s and events which were organized to manifest cultural and also political opposition to Francos regime. Spanish Cinema during the dictatorship: Neo-Realism (1952-1961) Neo-Realist ideology started to be more obvious throughout the film industry in Spain almost immediately, not only in films by the young upcoming directors but also in those by followers of Franco such as Josà © Antonio Nieves Conde, who with his controversial film Surcos, let Spaniards see some of the unpleasant aspects of urban life. Luis Garcà ­a Berlanga and Juan Antonio Bardem were two disillusioned Falangists who studied at IIEC, they both were very important individuals in the attempt to renew Spanish cinema. These two men worked together with their own production company called UNINCI and in 1951 made Esa Pareja Feliz (That Happy Couple) (1953). The story was based on dreams of the working class about the improvement of the economy with parodies of CIFESAs (Compaà ±Ãƒ ­a Industrial Film Espaà ±ol S.A.) epic cinema and also the escapism of romantic comedies from Hollywood. Berlanga and Bardem proceeded with the same satirical style in the respected Spanish parody Bienvenido Mister Marshall (Welcome Mr. Marshall!) (1953).This production had a very critical edge and for that reason it obtained a very positive international recognition. Nevertheless, it was publicly and officially disapproved in Spain. Although the critics of his movies were softened by the parody and comic tone, Berlanga frequently had cens orship and poor distribution issues. Juan Antonio Bardem was part of the illegal Communist Party and also one of the organizers of the Salamanca Film Conference in 1955. His career in the film industry in the 50s and 60s was interrupted with periods of imprisonment due to his political actions against the regime. Among his works were Cà ³micos (Actors) (1953) and Muerte de un ciclista (Death of a Cyclist) (1955) in which Bardem emphasises in a critical perception of the bourgeoisie in Spain and showed some short images of people living in extreme poverty in Spain, this film gave Bardem substantial international recognition (Winner of the 1955 FIPRESCI Prize at the Cannes Film Festival). The introduction of new ideas from international lands caused great fervour and strong feelings of change among filmmakers and the general public alike. Public discussions were due for the first time in Spains old University City Salamanca lead by Basilio Martà ­n Patino and sponsored by the Universities film club, the first National cinematographic conversations called the attention of professionals in the Spanish film industry, scholars, critics and writers who were there to represent a vast range of ideologies, these conversations took place between 14th and 19th of May in 1955. There was an opened document declaring the meeting which was signed by directors such as Bardem, Patino, Muà ±oz Suay, etc; these recognised personalities of the film industry along with many others discussing a number of topics, for example the censorship criteria, film distribution, and protection quotas. They also mentioned that it was crucial to include a member of the film industry in the censorship team and wanted that point to be considered. The discussions in Salamanca caused a minimum reaction for which many of their supporters thought the talks had been a failure. The fascist government opposition said the talks were an opportunity given to the regime by a bourgeois organization to sharpen its manipulation by the use of censorship criteria. Conservatives said the talks were proof that communist were infiltrating; some other people said that the discussions were clear evidence that the film industry in Spain was in its infancy, but for others of its history and maturity. Nevertheless it is important to say that the talks had helped the awareness of Spanish cinema on a national level and due to some insecurity in the government eleven months after the Salamancan talks the general director of film and theatre was substituted by Josà © Muà ±oz Fontà ¡n (Whose career would later be destroyed by Buà ±uels controversial Viridiana (1961)). The most obvious evidence of official reactions was that the film industry was in c omplete silence following the talks and the Franco Government quietly turned its back. Although censorship had caused an artistic void in Spain, the new emerging and inspiring ideas being introduced into Spain had created new blood with young home grown directors such as pioneers Luis Garcia Berlanga and Juan Antonio Bardem (Who both helped to create la està ©tica franquista, a film style which ironically defined Spanish film during Francos reign). Spanish Cinema during the dictatorship: New Spanish Cinema (1962-1968) Spain made its first attempt to be part of the European common market in 1962; the country wanted to prove that Spain was not the fascist, retrograde it used to be; Spain was going through a new phase of liberalization. The moderate Garcà ­a Escudero who was dismissed 10 years before for supporting the film Surcos was brought back to accompany the director of cinematographic and theatre position. Garcia participated in the discussions in Salamanca and was aware of the disappointment and frustrations of those people who were attempting to make films during the dictatorship of General Franco and therefore when the repression caused by the use of censorship temporally down the pressure on the film industry in 1962, Josà © Marà ­a Garcà ­a Escuderos started to revise the points discussed in Salamanca which after seven years had not been even considered. One of the hardest aims for Garcà ­a Escudero to achieve was to update the censorship system. In this attempt he was attacked by constant criticism, especially by members of the church and the right wing who accused him of being a repulsive freak of a promoter. Forth revised codes were stipulated in 1963, which were strongly attacked with the only purpose of bringing back many of the strictly controlled measures. Although several of the new film makers were clearly part of the opposition, the dictatorship found the way to silence their voices. Josà © Garcà ­a Escudero did not find enough political support to cause any serious alteration to the censorship system; however, in 1962 he managed to create a new category for special interest films. This category was very significant for new professional film makers from The Escuela Oficial de Cinematografà ­a (EOC), to work in a film industry in which they had never been allowed to be involved in unless they were only apprentices. As a consequence of the special interest category a new genre in the film industry appeared. This new genre was films that showed the problems of Spain, especially with criticism towards the social situation of the country, for the first time realistic narratives of Spain were screened in cinemas along the country. This type of cinema was called by critic Juan Francisco de Lasa as New Spanish Cinema. The new cinema in Spain was known for its use of metaphor showing social criticism which was prominent in the 1950s especially by directors Luis Garcà ­a Berlanga and Juan Antonio Bardem who were well respected at the time and classed as the best of their era and genre. Nevertheless new directors focused more on the 1890s literary generation. Spanish writers like the likes of Antonio Machado, Miguel de Unamuno and Pà ­o Baroja were attempting to find answers to national issues in its literary, historical and also geographical past, the new directors in the 1960s were more interested in analyzing and criticizing social traditions in Spain in an attempt to form an image of Spain in which the country is seen for what it really is, instead of for what it was in the past or people thought it would be in the future. Despite the special category which allowed new Spanish productions to work as films of special interest, young Spanish film makers were still being attacked by censorship, as seen in Miguel Picazos La tia Tula (1964), that had a cut of over four minutes and then there was the confiscation of certain scenes from Carlos Sauras Llanto por un bandido (1964) which were eventually destroyed by the censors. Manuel Summers Juguetes rotos (1964) recalls the heroics of a boxer, a bullfighter, and a soccer player, showing the contrast between the opportunities of youth and the loneliness of advancing age still had its problems with the censors with the director receiving a long list of prohibited shots, including the following. A child begging A group of girls in bikinis Dialogue saying Cualquier Espaà ±ol puede ser torero (Any Spaniard can be a bullfighter) These frequent restrictions caused an enormous frustration among many promising film makers. When the regime realised that the new Spanish cinema was being used in opposition, the government designed a system which allowed control over film distribution, making sure that these films were seen only by a chosen few; new Spanish films were screened exclusively in a system of art theatres for a very small educated audience. The arte y ensayo system started in January 1967 with the following restrictions: 380 theatres Only in urban areas (cities of over 500,000 inhabitants) Cannot seat more than 500 (By law) The distributors at first thought it was great to be able to offer films shown for the first time in Spain but because the audiences were small, exhibitors advertised promising them fruto prohibido (films prohibited or censored elsewhere). While this was correct, most of the public had misinterpreted it and would come looking for lewd material. Most previously censored films were not necessarily sexually explicit, censored more for political or social reasons such as Jean-Godards A bout de soufflà © (1960), Luis Buà ±uels Exterminating Angel (1962) and Ingmar Bergmans Persona (1966). The public became totally disillusioned and because of the years of censorship was completely unprepared for the new developments in films. By 1972 the art theatre ceased because it proved to an unsuccessful experiment. The special theatres were created not so much for the benefit of the Spanish film industry but so that foreign tourists in Spain could see movies in their native language. The New Spani sh Cinema was being exhibited mostly in the art theatres but after a mere five years, Spains New Cinema did not have an audience in its own country and they were all abolished. The whole movement had attracted nothing but problems from the start due to the total lack of film culture in Spain. Directors of New Spanish Cinema created films which felt out of date to the foreign audiences. Basilio Martà ­n Patinos Nueve cartes a Berta (1966) was entered into Cannes by Josà © Marà ­a Garcà ­a Escudero but straight away rejected; Patinos honest and naive film felt dated to an international audience with their advanced understanding of cinema. To be fair to Garcà ­a Escudero he had accomplished a lot between 1962 and 1966, over forty new directors had made their first film. This wasnt enough for him to keep his position of director general of Cinematografia y Teatro, and he was dismissed for the second time in his career. There were two reasons given, the first was economic; the secon d was for The Primeras Jornadas Internacionales de Escuelas de Cinematografà ­a (First International Film Schools Discussions) and his lack of control over a new and important presence in the Spanish film world, a group of students and young directors who were presided over by the respected film critic Ramà ³n Gubern and in part by director Joaquim Jordà   who is quoted saying: Today is impossible to speak freely of reality in Spain, so we are trying to describe its imaginary life* This group organized the only public discussion of film in Spain for the last twelve years. These discussions were held between 1st and 6th of October 1967 in the Catalan beach town of Sitges. Attended by students, critics and young filmmakers, the Sitges conference provided a unique space for anti-Franco protesters, revolutionaries and supporters of experimental film. The Catalonian film director, Jordà   presented a manifesto for the Barcelona School that became widely known as the Sitges Manifesto. This manifesto provided a clear focus for debates on questions of film principles and political ideals, as well as new ideas for production and exhibition of work outside Francos restrictive regime. Jordà  s drafted the manifesto with a Marxist tone and could not be further from the New Spanish Cinema if it tried, with demands to end all censorship and state subsidies of any kind. Furthermore it called for the replacement of the Sindicato Nacional de Espectà ¡culo (State Entertainmen t Union) which would be able to supervise the production, distribution and exhibition of film. The Sitges manifesto rejected any possibility of working with the system and would only agree to a film industry totally independent of the state. By the time the Franco regime noticed what was going on in Sitges the conference was coming to a close. Nevertheless police interrupted the end of the event and arrested participants. Jordà   sought refuge in Rome and classes were briefly suspended at the National Film School. Garcà ­a Escudero was finally dismissed in November 1967. After the regimes reaction to the conference in Sitges, the Spanish film directors union (Agrupacià ³n Sindical de Directores-Realizadores Espaà ±oles de Cinematografà ­a (ASDREC)) was planning to continue the debates at their own convention, scheduled on the 23rd of November in 1969. A group of professional directors proposed that they carry out a study of the main problems of Spanish film and publish the find ings. Some of these findings, including eliminating film censorship, had been taken from Sitges. Officially the ASDREC convention was prohibited due to its controversial tone, but this didnt stop them. After many preliminary talks between directors discussing the topics most relevant to the industry, the main meeting was eventually held in March 1970. * Higginbotham, V. (1988). Spanish Film Under Franco. Texas: University of Texas Press. p66 Spanish Cinema during the dictatorship: The decade of Francos death (1969-1975) With the demise of Garcà ­a Escudero and the New Spanish Cinema and the breakup of School of Barcelona with its avant garde views, Spanish movie screens were full of foreign Spy movies and spaghetti westerns. The decade of Francos death (November 20th 1975) had started badly for Spanish film, with huge debts for the industry and the best of its new films were hardly shown on Spanish cinemas screens. 20 percent of world cinema had been banned in Spain since the Civil War and by the 1970s it had risen to over 50 percent of films made abroad that couldnt be seen on Spanish screens. If most of the worlds greatest films couldnt be seen in Spain, at least it wasnt being so strong on letting them be filmed there, even if it brought controversy. One of the most important (and controversial) events for Spanish film during the later years of Francos reign was Buà ±uel being granted permission to film Tristana (1970) in 1969. Tristana, definitely one of Buà ±uels finest, is a great example o f why his films, although banned and not well known to the Spanish people, were considered by Spanish Directors in the know as National treasures. In total contrast to most of the Spanish films made during the dictatorship, Buà ±uels vision of Spain seemed and felt more authentic. With the use of real people where possible as in Viridiana (1961) where he selected a group of beggars straight from the streets of Toledo and Madrid, and then there is the title character from Nazarin (1959) who is a typical anarchistic Spanish clergyman (many were murdered on the suspicion of being Communist sympathizers during the Civil War). Buà ±uels return to Spain was also the start of a new era in Spanish film, in the next five years leading up to Francos death there were some great films to come out of Spain. Carlos Saura (after Buà ±uel is Spains most important director during the post-war era) managed to create some great films even though his films were criticized by both right and left wing equally. He had the power to irritate and inherited Buà ±uels ability to cause trouble and whose films also managed to disturb the uneasy calm of the Franco camp. Films included Los golfos (1959), Ana y los lobos (1972), La prima Angelica (1973) and Cria cuervos (1975) the title in Spanish stems from the phrase Raise ravens and theyll pluck out your eyes and the equivalent phrase in English would be you reap what you sow. Filmed the year before Francos death, it makes clear how the regime, through an out of date religious education, making certain that the young do not grow into cuervos (ravens) and rebel the fascist myth. Last but definitely not least is the most highly acclaimed film in the history of Spanish cinema, El espà ­ritu de la colmena (Spirit of the Beehive) (1973) one of the most beautiful and poetic films ever filmed, a film which has been haunting audiences both Spanish and abroad since it first premiered in Madrid in October 1973. A young Victor Erice (he was 33 years old when he directed his master piece, 3 years younger than Orson Welles when he directed Citizen Kane (1941)) was in search of new myths and turned to classic horror films for inspiration and he found Frankensteins monster to represent Spain and its problems. After seeing James Whales Frankenstein (1931) for the first time, seven year old Ana becomes fascinated with the monster, she becomes obsessed with finding him, and transfers this onto a wounded army deserter, who she is convinced is the monster. As a metaphor for Spain, the monster is a ghoulish collage of a man, a monstrous figure constructed by the sinister creat or, Dr. Henry Frankenstein. Even the Doctors name sounds very much like Franco. With its reference to the myth of Frankenstein, Erice found an uncanny metaphor for Francos Spain. The monster was reborn and had no memory like a new born baby, he has no moral sense and so can behave kindly, then kill (by accident or otherwise). Frankensteins monster being a literary myth himself suitably represents the final result of the so called Franco myth. Chapter Three Spanish Cinema back to Democracy General Franco died on the 20th November 1975, and with his death died 46 years repression, a new phase of history was about to be born in Spain. It was the time for freedom which would give strength and new backbone to the Spanish cinema. It was as if Spain finally had democracy, liberalism, explicitness and experimentation all at once. Directors were now creating without the pressure of all those previous prohibitions. Franco before he died had designated as his successor Juan Carlos of Bourbon, who was the grandson of the last king of Spain. For the first time in over 40 years, a free election took place on June 15, 1977 and

Essay --

Mount Vernon; George Washington's Mansion There are many historic Memorial in the United States, but Mount Vernon is the most popular and visited site. It is one of the most unique home built in the eighteenth century. Thousands of people visit Mount Vernon yearly become educated about the life of George Washington and how he lived. Mount Vernon is a beautiful, luxurious estate home to the first president of our country, George Washington. Mount Vernon sits at 3200 Mount Vernon Memorial Highway in Mount Vernon, Virginia. Washington’s family owned the land since the time of Washington’s great grandfather in 1674. Washington older brother owned the land until he died in 1752. Lawrence’s will said that his widow should own a life at Mount Vernon. Two years after George’s brother died, George began leasing the land from Lawrence’s widow, Anne Fairfax. George got possession of the estate in 1754, but did not become it’s sole owner until 1761. In 1739 George Washington launched on an expansion of the estate. He constructed the mansion between 1757 and 1778. Its currently 11,028 square feet, ten times larger of an average home in colonial Virginia. Over four decades, Washington expanded and refurnished Mount Vernon twice. The architect of this estate is unknown, but George Washington is said to have many helpers and sources to constructing his dream home. The exterior of his mansion appears to look like stone, but is actually made of yellow pine siding.It is built of wood in a loose Palladian style. Most rooms at Mount Vernon have been touched up since George Washington and his wife, Martha, lived in the mansion. Mount Vernon is not only a mansion; it also includes the Ford Orientation Center, mansion outbuildings,Gardens, Martha and G... ...t. In the months March, September, and October, its opened from nine to five. In November through February the estate is open from nine to four. Mount Vernon is open 365 days a year. When travelling with a school group student’s tickets cost eight dollars, while adult tickets cost fourteen dollars. An adult chaperone is required to visit Mount Vernon. Mount Vernon will help our class understand how George Washington lived. This is an extremely important site because George Washington was the first leader of our country. I think our class will get a ton of information from visiting this ancient estate. Mount Vernon will remind why George Washington is called â€Å"the father of our country.† This gorgeous estate is a must see site. Its beauty and perfection will hopefully change they way we viewed how George Washington lived his life when he was not serving our country.

Experience at clinical hospital Neurological ward Essay

I was a specialist at a children’s clinical hospital ward. Royal Glamorgan Hospital in Llantrisant. This hospital offers services to children such as inpatient neurology, neurosurgeon, radiology, neuropathology and paediatrics neurology with the children department. This work as it sounds is highly specialized and can only be achieved in a center with high and excellent academicians and research done regularly. Some work such as Neuro-radiology is highly specialized and is only provided in a few centers in the U.  K. Which dictates regular increase knowledge by consulting references, identifying learning resources within the center and making use of them. I was a neurologist which means I attended to Brain and Nervous system diseases. Due to the fact that they are few centers taking care of Neurologist. Difficult cases are referred to our clinics. For instance stroke, brain saving treatments are available if the patients are seen, scanned and diagnosed on time in specialist centers. As a neurologists, I was interested in dealing directly with emergency care but hospital senate was usually interested on how many patients are attended which leaves the emergency care to non-specialists. On this particular week I was on duty or what this center called a call. That means for 24 hours a day and 7 days am available for emergency referrals. On Monday that week a very young child was aged 9 years had a brain biopsy, he was on the intensive care unit. I was not sure what is wrong which was a difficult time for me and his family. I requested for a brain test, which helped me diagnose the problem. I had an interest on multiple sclerosis. Children will have an attack once an year, eventually there was no treatment but now we had it only that it is too expensive, money had run out for the treatment, how cumbersome!. In the afternoon, I had a general neurology clinic at the hospital. I was also following on the patient who were fourteen in number those that I had been treating but seventeen have booked in. This was so frustrating because I would not give my patients attention as desired. In the evening I would return to the ward to see a patient I have not been there so files had really piled up. At night I received a call concerning a patient who have fever and there are no doctors so I went back. Tuesday I was on call for emergencies but routine work went on, Traffic was very built up so I had to leave early to get there by 8. 00 am. and its 10 miles. Tuesday afternoon a child with a bad headache was admitted, I was worried she had a clot in her head. Radiologist said the brain scan could stay until morning but I objected and supported an immediate brain scan. Wednesday I began by paper work then proceeded to give attention to my patients in the ward. In the afternoon there was multidisciplinary Neuro inflammatory clinic at 2pm. As the hospital had 15 beds, I could not pay attention to all these patients so I gave advice to those who were in General medicine. I was called to see a patient with a weak leg he had a scan which ruled out an operation but we dint know why the leg was weak I recommended some more scans. Thursday We get to the office and do paperwork, I saw some of the patients, had a long talk with a couple whose child had a massive brain cycles. Friday I had a clinic in the morning. I tried to be as responsible as possible to all our patients. We were attending to three patients each week to assess new symptoms to see if the patients will need a treatment. We also collected disability date with use of questionnaires which we then did a careful neurological examination. I got a call from the bone marrow transplant unit to see a child who had been in a coma for 24 hours. The question was whether he was epileptic. However he was given a sedative treatment for that day. We arranged an emergent brain test and it looked like the coma was from infection or metabolic problems given that his liver was not functioning well or maybe he was reacting from yesterday’s drug. While working at the hospital, the pharmacist working in the department,gave medication to a patient who I had been treating, but the patient died. The family was convinced that the medication was the main reason as to why the child died. The family went ahead and sued him and the regarded it as a second degree manslaughter. He chose me as his attorney as I was the one in charge of neurological children’s ward which I reluctantly accepted. I found myself so confused, I was not sure I wanted to do this but due to the fact that I was in charge neurological ward for children I had to. To be the attorney defending the pharmacist. I was not sure which way to go I was caught up in a moral dilemma. I felt that the pharmacist would have been more careful in serving the customers in accordance to the domains of conduct and competence. On the other hand, I felt that I should be with him in that trying time. It was also a difficult time for me. It was a real test for my ethical standards. This is because I felt so carried away by the family’s reaction which I felt were justified. The second degree manslaughter, is a difficult case an attorney can take. Defending a person against murder charges whether attempted murder or manslaughter requires every possible weapon even if the prosecution is weak. This involuntary manslaughter usually carries four years. The Pharmacist was so worried and nervous feared for the worst since the prosecution seemed very strong. When he stood in the docket to testify, there was nothing he said that seemed to satisfy the judge, which placed us in a worse situation than we were already in. This was the first time I was being an attorney in any ones case so that particular morning I was so confused. I tried to relax and get all the facts right concerning the case. When my time came to stand in the docket I was very composed. So I gave my testimony as the neurosurgeon who was in charge that week. I argued that they were many conditions that surrounded the death of the boy. The death was not necessarily caused by the medication the patient was in bad shape which may have mainly contributed to his death. At this juncture it looked like am convincing the judge who then asked me to give a document backing my testimony which I handed over to him. The patient who was a ten year body had suffered from stroke which was very serious. The pharmacist seemed to relax a little bit when the judge finally started to nod his head in agreement. I concluded my testimony by stating that the death of the patient was surrounded by many instances which was hard to draw any conclusion. The prosecutors were given a chance to give their evidence, they argued that the boy was fine until he took the medication. We were told to came back in the afternoon to hear the judges verdict. We came back at two in the afternoon. There was anxiety and tension in the court room as we awaited the judge verdict. The Judge threw out the prosecution as murder charge which he said the evidence was inadequate to support such a conviction of murder. The prosecutor could not take that and vowed to appeal, calling the judge decision as â€Å"ultra vires†. The lead prosecutor complained to the judge accusing him of committing the offense of negligence. We were very excited and drove to the hospital feeling very achieved. This two experiences gave me more confidence to face future challenges, it was very hard in the beginning. With time I was able to learn so much, the reason I included the week when I was in duty is because it gave me the most experience it was a week of career growth without depending on the more experienced specialists. This week also, I was able to measure my performance and how I could improve. In addition, I discovered my weakness which I hope to overcome as I advance in my career. I also noticed the importance of giving high quality services to my patient as it gives satisfaction and happiness to know that you did you did your best. When I needed to top up my knowledge I consulted other more experienced specialists or visited the hospitals library. which had enough resources. This helped me improve on my knowledge, which I hope to widen further as a advance in my career.

Slavery and Racisim essays

Slavery and Racisim essays No issue, of course, raises deeper questions about the founders' commitment to liberty and self-government than slavery. Critics of the Founding Fathers ask how can we take seriously anything said by Jefferson, Madison, and their contemporaries on the subject of liberty and democracy when these men and many of their countrymen were denying liberty and self-government to some hundreds of thousands of black Americans. Common today is the view that "the founders excluded the Negroes from the rights of man' expressed in the Declaration of Independence and sanctioned slavery and Negro inferiority in the Constitution" (chapter 6). As Storing shows, this critique embraces both the radical Abolitionists' view that the Constitution was a "compact with the devil" and the view of mid-nineteenth century slavery defenders, who held that the principle of human equality in the Declaration of Independence was a "self-evident lie." Yet these interpretations of the founders' approach to slavery were rejected by no less a person than Frederick Douglass, former slave and the most prominent and gifted black orator and spokesman during the decades surrounding the Civil War. Storing's close analysis of the constitutional provisions related to slavery is a masterful defense of Douglass's view (chapter 7)one also shared by Abraham Lincoln and other leaders of the Republican Party, but now all but forgotten and therefore little taught. The Civil War ended slavery in the United States, but in so doing it precipitated a challenge of perhaps equal difficulty: bringing the two races together onto a plane of social and political equality. Storing shows that leading American statesmen such as Jefferson and Lincoln had entertained grave doubts as to whether white prejudice and black resentment for past wrongs would allow the creation of a peaceful biracial democratic society. He speculates that a thoughtful Founding Father reviewing present-day circumstance ...

Free Essays on King Philip’s War

King Philip’s War was a disturbing war fought in America in 1675, almost certainly as a result of the early contact between the English Colonists and the Native Americans. The Natives were, and had always been fighting for their freedom and land, as well as their culture unharmed. Though the Natives had their own religious beliefs, the Colonists felt that they were the greater man, and that God would play a part by remaining on their side. The Natives did not trust the English with their multiple cheated promises and such, and it was only expected that the Natives would not believe in the English. There is no one established reason for this war, like many wars, but it is only probable that it be a result of the many differences between the Native way of life, and the English way. The Wampanoag Indians were a tribe that settled in the area of current day Rhode Island and Massachusetts. It is estimated that the number of tribe members was somewhere over ten thousand before the English arrived and brought along sickness and disease that the Natives were not accustomed to. By around 1675 it is imagined that the Wampanoag population plummeted to around only one thousand members. At first, the Wampanoag were accepting of the English because there appeared to be no immediate threat of endangerment of the Natives. The Natives actually became appreciative and dependent on the English in a sense, because they had been introduced to the various types of food, clothing, and most importantly, weapons. Massasoit, the Chief of the Wampanoag Indians at the time, signed a treaty of peace with the English that promised not to give up their land to anybody without the knowledge and consent of the Plymouth government first. It wasn’t until 1630 when the situation reversed with the increasing amount of settlers moving to The Massachusetts Bay Colony known as â€Å"The Great Migration†, that the Natives became angered. The new settlers, the Puritans,... Free Essays on King Philip’s War Free Essays on King Philip’s War King Philip’s War was a disturbing war fought in America in 1675, almost certainly as a result of the early contact between the English Colonists and the Native Americans. The Natives were, and had always been fighting for their freedom and land, as well as their culture unharmed. Though the Natives had their own religious beliefs, the Colonists felt that they were the greater man, and that God would play a part by remaining on their side. The Natives did not trust the English with their multiple cheated promises and such, and it was only expected that the Natives would not believe in the English. There is no one established reason for this war, like many wars, but it is only probable that it be a result of the many differences between the Native way of life, and the English way. The Wampanoag Indians were a tribe that settled in the area of current day Rhode Island and Massachusetts. It is estimated that the number of tribe members was somewhere over ten thousand before the English arrived and brought along sickness and disease that the Natives were not accustomed to. By around 1675 it is imagined that the Wampanoag population plummeted to around only one thousand members. At first, the Wampanoag were accepting of the English because there appeared to be no immediate threat of endangerment of the Natives. The Natives actually became appreciative and dependent on the English in a sense, because they had been introduced to the various types of food, clothing, and most importantly, weapons. Massasoit, the Chief of the Wampanoag Indians at the time, signed a treaty of peace with the English that promised not to give up their land to anybody without the knowledge and consent of the Plymouth government first. It wasn’t until 1630 when the situation reversed with the increasing amount of settlers moving to The Massachusetts Bay Colony known as â€Å"The Great Migration†, that the Natives became angered. The new settlers, the Puritans,...

Raising prices enhances wine sales Research Paper

Raising prices enhances wine sales - Research Paper Example Hypothesis generation is considered to be the most creative task within a research (Salkind, 2010, p. 1253-1254). The null hypothesis and alternative hypothesis of this research study are mentioned below: Based on the research problem and the designed hypothesis in this study, it can be said that the two major variables that can be considered in this case are the price and demand of wines. The increasing price increases the demand of wine; here the dependent variable is the demand while the independent variable is the price of wines. Another dependent variable is the satisfaction or level of pleasure of the respondents because the satisfaction level of the respondents also increased when they consumed a high priced wine (Nargundkar, 2003, p. 187-189). The wines were tagged with the price, which is the independent variable, and given to respondents for tasting. It was found that the respondents preferred more of the high price tagged wines; a MRI test was also conducted to monitor the brain activities. It was found that the respondents felt more satisfied consuming the high price tagged wines. There are certain extraneous variables which might have affected the study, but these are not included in the article. This can be even considered as the limitations of the study. The brand of the wine; age group; socio-cultural aspects, such as level of the respondents in the society; income level and habit are few important variables that affect the demand of wine (Malhotra, 2008, p. 228). In this experiment, the researcher has chosen a within subject design, as it can be seen that all the respondents in this research have undergone similar experiments. Here all the 20 respondents were allowed to taste similar wines and provide their inputs for the same. Firstly, within subject design is appropriate for small experiments. As the sample size of this experiment

Parental Spanking Essay Example | Topics and Well Written Essays - 500 words

Parental Spanking - Essay Example According to Shane Tucker, "spanking is an appropriate form of punishment when used in an effective way, and not merely as an angry reaction to behavior." (Tucker) Therefore, spanking is an appropriate form of punishment to discipline a naughty child and it is a legal, socially-tolerated, and biblically-supported means of disciplining the child. First of all, parental spanking is a good form of discipline because it is most effective in disciplining the child and it causes no problems to the child, if implemented effectively. It is the most-widely used and effective way of immediately reducing or stopping an unwanted behavior of the child and it is not very harmful to the child. "Spanking can immediately reduce or stop an unwanted behavior if used extremely infrequently in selective circumstances (for instance when the child's behavior is so unsafe or dangerous that he could be significantly or permanently harmed.