Comparing The U.S. Health Care System with that of The United Kingdom Essay

Looking at The U.S. Medicinal services System with that of The United Kingdom - Essay Example (Joined Nations Development Program; See Table 1). This implies human services is an extravagance that individuals with more cash can purchase a greater amount of and a superior nature of. Deciding to use an arrangement of secretly subsidized human services might be an aftereffect of the disposition of the United States of being free, which can be interpreted as meaning liberated from government control or impedance in the free market. While there is open financing accessible for the old and the incredibly poor, numerous individuals despite everything don't get the human services they need. This absence of human services for residents who need it is as of now a subject of much discussion. The United Kingdom, then again, reserves its residents' human services freely, through assessments. As per the 2007-2008 Human Development Report, 7% of GDP in the United Kingdom is spent on general social insurance while simply 1.1% must be spent secretly. (Joined Nations Development Program; See Table 1). This distinction in consumptions in the United Kingdom means the perspective on social insurance as a basic human right as opposed to a cash based benefit. At the point when human services started to be freely subsidized, the thought was that if Britain could move in the direction of full work and go through gigantic entireties of cash during the wartime exertion, at that point in a period of harmony impartial proportions of social solidarity and money related assets could be diverted towards cultivating open products. (Wikipedia, 2008). Albeit openly supported human services gives more social insurance to a more noteworthy number of individuals, a few people accept that the natur e of medicinal services gave is lower. At times individuals decide to look for private social insurance, in the event that they can manage the cost of it, yet they are frequently vexed about paying for both private medicinal services and the general human services they are quitting. Numerous individuals don't care for the inclination that they are paying for the human services of others who become ill more as often as possible or are less solid. Another worry with the United Kingdom's general social insurance framework is that patients are regularly waitlisted to see specialists for squeezing matters; this has prompted pointless passings. (Browne, 2001). Putting the private versus open financing banter aside quickly, there shows up likewise to be disparity in the aggregate sum of joined open and private cash spent on medicinal services between the United States and the United Kingdom. In view of the recently talked about measurements, the United States burns through 15.4% of GDP on its medicinal services while the United Kingdom spends an impressively lower 8.1% of GDP on social insurance. As far as what this implies for every individual living in these nations, while per capita GDP in the United States is $41,890 and $6,096 of that is spent on social insurance, per capita GDP in the United Kingdom is a marginally lower $36,509 yet a fundamentally lower sum, just $2,560 per capita is spent on human services. (Joined Nations Development Program; See Table 1). By having everybody contribute a smidgen to the whole society's human services, apparently medicinal services turns out to be essentially less expensive for everybody. It is addi tionally intriguing to take note of that the United States, with a GDP (in a huge number of) $12,416.5, when contrasted with the United Kingdom's $2,198.8, would have a great deal of GDP to spend somewhere else if just 8.1% was spent on human services rather than 15.4%. Since there are many blended sentiments

10 Ways to Maximize Research at the Courthouse or Archives

10 Ways to Maximize Research at the Courthouse or Archives The way toward exploring your family tree will inevitably lead you to a town hall, library, files or other vault of unique archives and distributed sources. The everyday delights and hardships of your ancestors’ lives can regularly be discovered archived among the various unique records of the nearby court, while the library may contain an abundance of data on their locale, neighbors and companions. Marriage testaments, family ancestries, land awards, military programs and an abundance of other genealogical pieces of information are concealed in envelopes, boxes, and books simply standing by to be found. Under the steady gaze of heading for the town hall or library, be that as it may, it assists with getting ready. Attempt these 10 hints for arranging your visit and amplifying your outcomes. 1. Scout the Location The first, and generally significant, advance in on location lineage investigate is realizing which government no doubt had purview over the region in which your progenitors lived during the time they lived there. In numerous spots, particularly in the United States, this is the district or province proportionate (for example area, shire). In different zones, the records might be found housed around corridors, probate regions or other jurisdictional specialists. Youll additionally need to bone up on changing political and topographical limits to realize who really had locale over the region where your precursor lived for the timeframe youre inquiring about, and who has current ownership of those records. On the off chance that your precursors lived close to the district line, you may discover them archived among the records of the bordering region. While somewhat phenomenal, I really have a precursor whose land rode the province lines of three districts, making it essential for me to routinely check the records of each of the three regions (and their parent regions!) while examining that specific family. 2. Who Has the Records? A considerable lot of the records youll need, from indispensable records to land exchanges, are probably going to be found at the nearby town hall. Now and again, be that as it may, the more seasoned records may have been moved to a state documents, nearby verifiable society, or other vault. Check with individuals from the neighborhood genealogical society, at the nearby library, or online through assets, for example, the Family History Research Wiki or GenWeb to realize where the records for your area and timespan of intrigue may be found. Indeed, even inside the town hall, various workplaces ordinarily hold various kinds of records, and may keep up various hours and even be situated in various structures. A few records may likewise be accessible in various areas, also, in microfilm or printed structure. For U.S. inquire about, The Handybook for Genealogists or Red Book: American State, County and Town Sources, both incorporate state-by-state and province by-district arrangements of which workplaces hold which records. You may likewise need to investigate WPA Historical Records Survey inventories, if accessible for your area, to recognize other potential records. 3. Are the Records Available? You dont need to design an excursion most of the way the nation over just to find that the records you look for were pulverized in a town hall fire in 1865. Or on the other hand that the workplace stores the marriage records in an offsite area, and they should be mentioned ahead of time of your visit. Or on the other hand that a portion of the district record books are being fixed, microfilmed, or are in any case incidentally inaccessible. Once youve decided the store and records you intend to look into, it is unquestionably worth an opportunity to call to ensure the records are accessible for inquire about. In the event that the first record you look for is not, at this point surviving, check the Family History Library Catalog to check whether the record is accessible on microfilm. At the point when I was told by a North Carolina area deed office that Deed Book A had been absent for quite a while, I was as yet ready to get to a microfilmed duplicate of the book through my neighborho od Family History Center. 4. Make a Research Plan As you enter the entryways of a town hall or library, its enticing to need to hop into everything simultaneously. There generally arent enough hours in the day, be that as it may, to look into all records for the entirety of your progenitors in a single short outing. Plan your exploration before you go, and youll be less enticed by interruptions and more averse to miss significant subtleties. Make an agenda with names, dates and subtleties for each record you intend to examine ahead of time of your visit, and afterward confirm them as you go. By concentrating your hunt on only a couple of precursors or a couple of record types, youll be bound to accomplish your examination objectives. 5. Time Your Trip Before you visit, you ought to consistently contact the town hall, library or files to check whether there are any entrance limitations or terminations which may influence your visit. Regardless of whether their site incorporates working hours and occasion terminations, it is still best to affirm this face to face. Inquire as to whether there are any cutoff points on the quantity of scientists, in the event that you need to join ahead of time for microfilm perusers, or if any town hall workplaces or unique library assortments keep up isolated hours. It additionally assists with inquiring as to whether there are sure occasions which are less occupied than others. Next 5 More Tips for Your Courthouse Visit Research Tips 1-5 6. Gain proficiency with the Lay of the Land Each genealogical storehouse you visit will be somewhat extraordinary - regardless of whether its an alternate format or arrangement, various strategies and techniques, diverse gear, or an alternate hierarchical framework. Check the facilitys site, or with different genealogists who use the office, and acquaint yourself with the examination procedure and methods before you go. Check the card inventory on the web, in the event that it is accessible, and aggregate a rundown of the records you need to explore, alongside their call numbers. Inquire as to whether there is a reference bookkeeper who represents considerable authority in your particular region of premium, and realize what hours he/she will be working. On the off chance that records youll be investigating utilize a particular sort of list framework, for example, the Russell Index, at that point it assists with acclimating yourself with it before you go. 7. Get ready for Your Visit Town hall workplaces are frequently little and squeezed, so it is ideal to downplay your effects. Gather a solitary pack with a scratch pad, pencils, coins for the scanner and stopping, your exploration plan and agenda, a concise rundown of what you definitely think about the family, and a camera (whenever permitted). In the event that you intend to take a PC, sure that you have a charged battery, in light of the fact that numerous stores don't give electrical access (some don't permit workstations). Wear agreeable, level shoes, the same number of town halls don’t offer tables and seats, and you may invest a ton of energy in your feet. 8. Be Courteous Respectful Staff individuals at chronicles, town halls and libraries are commonly extremely accommodating, amicable individuals, yet they are likewise bustling attempting to carry out their responsibility. Regard their time and abstain from irritating them with questions not explicitly identified with examine in the office or hold them prisoner with stories about your predecessors. On the off chance that you have a family history how-to address or inconvenience perusing a specific word that simply cannot pause, it is normally better to ask another analyst (just dont bug them with different inquiries either). Annalists additionally significantly acknowledge analysts who avoid mentioning records or duplicates not long before shutting time! 9. Take Good Notes Make Plenty of Copies While you may set aside the effort to arrive at a couple nearby decisions about the records you discover, it is normally best to take everything home with you where you have more opportunity to look at it altogether for each and every detail. Make copies of everything, if conceivable. In the event that duplicates arent an alternative, at that point set aside the effort to make an interpretation or unique, including incorrect spellings. On each copy, make note of the total hotspot for the archive. In the event that you have time, and cash for duplicates, it can likewise be useful to make duplicates of the total file for your surname(s) of enthusiasm for specific records, for example, relationships or deeds. One of them may later show up in your exploration 10. Focus on the Unique Except if the office is one you can without much of a stretch access all the time, it is regularly helpful to start your exploration with the pieces of its assortment that arent effectively accessible somewhere else. Focus on unique records that havent been microfilmed, family papers, photo assortments, and other one of a kind assets. At the Family History Library in Salt Lake City, for instance, numerous specialists start with the books as they are commonly not accessible on credit, while the microfilms can be obtained through your nearby Family History Center, or some of the time saw on the web. Sources Eichholz, Alice (Editor). Red Book: American State, County Town Sources. third Revised version, Ancestry Publishing, June 1, 2004. Hansen, Holly (Editor). The Handybook for Genealogists: United States of America. eleventh Edition, Revised version, Everton Pub, February 28, 2006.

Miller presents the themes of truth and justice in The Crucible Essay Example For Students

Mill operator presents the subjects of truth and equity in The Crucible Essay In this article, I will be taking a gander at how Miller presents the subjects of truth and equity in The Crucible. To accomplish this, I will look at an assortment of characters including John Proctor since Miller utilizes his characters activities to pass on the topics. Before I finish up, I will contrast Millers work with different plays. The Crucible, by Arthur Miller, isn't a precise recorded record, yet rather an exact depiction of the Salem witch preliminaries of 1692 in Massachusetts. Mill operator rolls out minor improvements to the occasions that happened during the preliminaries, for example, the certifiable names of the people in question, the absolute number of individuals that were executed, and the right periods of the characters. During the hour of the witch preliminaries, individuals follow their exacting Puritan convictions. They put stock in difficult work, supplication, Bible examination, and thoughtfulness. Mill operator recounts how the Salem serve finds a few little youngsters moving in the woods. This is an indication that the young ladies are rehearsing detestable, in light of the fact that moving isn't allowed in the Puritan confidence. The witch preliminaries were a period of much pain, on the grounds that numerous blameless individuals kicked the bucket without confirmation and blame destroyed numerous lives. Mill operator enlightens in insight about the witch preliminaries and how the townspeople acknowledge blame of witches without proof. Individuals use black magic to pick up retaliation. One of the most significant subjects in Arthur Millers The Crucible is that acceptable, kindness, and equity don't generally triumph over fiendishness. Mill operator utilizes his character John Proctor to speak to equity in his work, The Crucible. John Proctor restricts expert in Millers play. He is depicted as the hero. From the general feel of the scene, we can suspect that the basic room of Proctors house is cool, unfilled and unwelcoming. This equals with the connection among John and Elizabeth. Theres is a lot of strain between the pair, and they inactively make babble at the table, as they believe they have to: Delegate: Pray now for a decent summer. Elizabeth: Aye It ought to be noticed that it is Proctor who is attempting to make discussion; Elizabeth is ruining his endeavors with single word answers. Delegate is feeling disappointed on the grounds that Elizabeth isn't recognizing that Proctor is attempting his hardest to fix the relationship. He is everlastingly guaranteeing his craving to satisfy Elizabeth: I intend to satisfy you Elizabeth. Delegate The crowd would get disappointed with Elizabeth for not pardoning him. In spite of the fact that Proctor is blameworthy for the bogus relationship with Abigail, he is going underneath his height to procure trust and regard from Elizabeth. This shows the individual honesty of John Proctor. He severely dislikes bad faith since they are vouching for some falsehood. Delegate has solid good standards with one exemption. Robust requests that he present the Ten Commandments and he overlooks one of them, which for his situation is the most significant, Thou shalt not submit infidelity. He precludes all allegations from securing his undertaking with Abigail until the preliminary. He at that point admits to the issue so as to spare his name and his better half. His admission shows that his standards are more grounded than all else is. In spite of the fact that John Proctor attempts to make the best decision at long last, his passing shows that equity doesn't generally triumph over wickedness. This additionally shows Miller presents subjects through the activities of the characters. Judge Danforth is an unmistakable character in the play, and one of fundamental persecutors of those blamed for black magic. He appears to be a hard man, and one not ready to change his perspectives. He is the fundamental appointed authority we find in the play, and is responsible for hearing all proof against individuals, and making a decision about them. The basic reality that he doesn't let any of those denounced off the charges except if they admit makes the feeling that he is a hard man, with almost no compassion or any kinder human attributes. Be that as it may, during the play, there are times when he is by all accounts gentler with certain individuals. .ub88b543c9119f42df67e48b538d8d1f2 , .ub88b543c9119f42df67e48b538d8d1f2 .postImageUrl , .ub88b543c9119f42df67e48b538d8d1f2 .focused content territory { min-tallness: 80px; position: relative; } .ub88b543c9119f42df67e48b538d8d1f2 , .ub88b543c9119f42df67e48b538d8d1f2:hover , .ub88b543c9119f42df67e48b538d8d1f2:visited , .ub88b543c9119f42df67e48b538d8d1f2:active { border:0!important; } .ub88b543c9119f42df67e48b538d8d1f2 .clearfix:after { content: ; show: table; clear: both; } .ub88b543c9119f42df67e48b538d8d1f2 { show: square; change: foundation shading 250ms; webkit-progress: foundation shading 250ms; width: 100%; murkiness: 1; progress: haziness 250ms; webkit-progress: mistiness 250ms; foundation shading: #95A5A6; } .ub88b543c9119f42df67e48b538d8d1f2:active , .ub88b543c9119f42df67e48b538d8d1f2:hover { obscurity: 1; change: darkness 250ms; webkit-progress: obscurity 250ms; foundation shading: #2C3E50; } .ub88b543c9119f42df67e48b538d8d1f2 .focused content region { width: 100%; position: r elative; } .ub88b543c9119f42df67e48b538d8d1f2 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; content adornment: underline; } .ub88b543c9119f42df67e48b538d8d1f2 .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .ub88b543c9119f42df67e48b538d8d1f2 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; outskirt sweep: 3px; box-shadow: none; text dimension: 14px; textual style weight: striking; line-stature: 26px; moz-fringe range: 3px; content adjust: focus; content improvement: none; content shadow: none; width: 80px; min-tallness: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: outright; right: 0; top: 0; } .ub88b543c9119f42df67e48b538d8d1f2:hover .ctaButton { foundation shading: #34495E!important; } .ub88b543 c9119f42df67e48b538d8d1f2 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .ub88b543c9119f42df67e48b538d8d1f2-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .ub88b543c9119f42df67e48b538d8d1f2:after { content: ; show: square; clear: both; } READ: George Orwell expressed Animal Farm since he felt constrained to communicate his perspectives on the Russian Communist society EssayThe first notice of Danforth is in Act three. Mill operator remembers notes about a large number of the characters for the stage headings, and those of Danforth give a moment impression about him. Danforth is a grave man in his sixties, of some amusingness and modernity, that doesn't, anyway meddle with a precise devotion to his position and his motivation. He brings religion into his contentions a ton, primarily censuring the individuals who don't go to chapel consistently. He appears to have more regard for the individuals who are what he considers as great Christians. Danforth: You are in all regards a gospel Christian? Procter: I am, sir Danforth: Such a Christian that won't come to chapel yet once per month? Danforth: à ¢Ã¢â€š ¬Ã‚ ¦Plough on Sunday? In this last statement, Danforth appears to be doubting that a man who viewed himself as a Christian could furrow on a Sunday. While these days this would be worthy, in the days Miller was expounding on, a man for the most part couldn't consider himself a Christian except if he embraced a somewhat exacting lifestyle, and complied with the unbending standards of the congregation. Judge Danforth needs to regard Christians, and keeping in mind that utilizing a clear absence of Christianity against the individuals blamed for black magic, he appears to appreciate its utilization to denounce them, just. At the point when the young ladies are addressed, they every now and again fight I am with God or I am with God now. Danforth appears to trust them when they state this. He appears to need to accept they are with God despite the fact that he won't trust it about any denounced. This appears to be very tricky. In any case, in the event that he accepts that any individuals blamed were with God and reported them guiltless, he would be blaming the young ladies for lying. This would mean he didn't accept that they were with God. Hence, Danforth feels he needs to pick somebody to accept and adhere to their perspective. Accepting the girls,â would positively be a mainstream choice, at any rate from the start, as people in general would be quick to do Gods work and censure who they thought were associated with black magic. He gives some benevolent human qualities, despite the fact that the select conditions under which he does this, causes it to appear to be much increasingly bogus. At the point when he is conversing with Goody Proctor, he appears to be thoughtful and conscious. At the point when he bites the dust this, she is a censured lady, and this might be for his own benefit, as he is attempting to get Procter to admit. This plainly shows equity doesn't generally triumph over malevolence.

But what of the Chickens Jacob’s room and the masculine martyr narrative - Literature Essay Samples

The 1910’s and early 1920’s were littered with sob-stories about men who gave their lives for their country in the first world war. Poetry, songs, radio plays and indeed, many novels are dedicated to this subject. These stories nearly all centered on a young man, from a good family who had the whole world at his feet, and a long, successful life ahead of him. This young boy would then be called up to serve in the ‘great war,’ and, being a brave and noble lad, he would not decline. Instead, he would take up arms, and go with friends, brothers, and complete strangers to fight an unexpectedly gory war, only to die in battle. Some of these works, such as Hemingway’s A Farewell to Arms, Siegfried Sassoon’s â€Å"What does it matter?† or Erich Maria Remarque’s All Quiet on the Western Front, for example, take a distinctly anti-war tone, decrying the conflict as a pointless travesty. Others, for example John McCrae’s â€Å"In Fl anders Field† see the war as a more noble endeavor. But none of these narratives, be they pro or anti-war, optimistic or pessimistic, are of any interest to Virginia Woolf. Attempting to craft a novel for the new age, she writes about the war from a different moral perspective entirely. The world is already filled with books about brave young male heroes, so her book, Jacob’s Room, will not feature such a character—in fact, he will be ostentatiously missing. Many works of fiction already decry the loss of innocence, so she shan’t bother with that, but rather will look at the dull future most of these men actually lost. And she will also attempt to reveal to us the real victims of this war—not the dead, but the women who must pick up after the dying and soldier on. In this essay, I will examine the ways Jacob’s Room undercuts, mocks, and questions the narrative of the masculine martyr, through its innovative format, use of familiar setting, and martial diction. Let us first examine the way the story d epicts, or does not depict, its characters. As mentioned in the previous paragraph, Jacob, the character the book is ostensibly ‘about’ does not appear as such in the story. He is seen, thought on, and influences other characters, but he himself never serves as a central figure—we do not see the world through Jacob’s eyes. Instead, we see the world through the eyes of a multitude of other characters, many of whom are only tangentially related to the so-called ‘protagonist.’ For example, allow us to examine the passage involving Betty Flanders’ search for a stamp in the very first chapter: â€Å"’Scarborough,’ Mrs. Flanders wrote on the envelope, and dashed a bold line beneath; it was her native town; the hub of the universe. But a stamp? She ferreted in her bag; then held it up mouth downwards; then fumbled in her lap, all so vigorously that Charles Steele in the Panama hat suspended his paint–brush,† (Woolf 4). Seamlessly, Woolf’s story flows from being centered on a country widow, to a painter trying to get the right image. It’s a rather unimportant moment from a narrative perspective, but there’s more to this frequent bouncing between points of view than just narrative convenience. There’s no reason this book has to be about Betty Flanders, as opposed to Charles Steele, or about Charles Steele as opposed to Mrs. Jarvis. Woolf tries to create a story that has a place for everyone in it; de liberately excluding the struggles of Steele, however picayune, would be akin to an act of violence—silencing him forever as surely as an axe. This story runs entirely contrary to the typical war novel, before, during, and after World War I. From Dalton Trumbo’s Johnny Got his Gun to Stephen Crane’s Red Badge of Courage, most novels written about and during war focus on the events of the war itself, and how one, specific individual suffers or affects the event. But this is of course, not how conflict works. It relies on multiple people, many of them not present in the conflict itself. In many ways, though it does not involve any violence or combat, Jacob’s Room displays war in its enormity and entirety more accurately than the narcissistic parables of many other war-driven stories. Rather than relying on the audience’s ability to sympathize with one individual figure, Virginia Woolf presents us with a cavalcade of characters, then shows us the world through their eyes and how each of them, however indirectly, is affected by the war and the soldiers in it. Jacob, she seems to tacitly assert, was n ot the only casualty of war, nor were men the sole victims. This is re-enforced by the non-traditional plot. The story does not move in a linear fashion or stay anchored in one place, but rather bounces through both time and space, settling on everything from the most picayune to the doldrums of life. These, however, are not depicted as such. What might pass as filler in another story is here treated with love and respect. Take, for example, the exchange between Betty Flanders and Ms. Jarvis in chapter eleven: I never pity the dead, said Mrs Jarvis, shifting the cushion at her back, and clasping her hands behind her head. Betty Flanders did not hear, for her scissors made so much noise on the table. They are at rest, said Mrs Jarvis. And we spend our days doing foolish, unnecessary things without knowing why. Mrs Jarvis was not liked in the village, (Woolf 181). Both the surface content and the inner workings of these few sentences cast a light on Woolf’s critique of the war narrative—namely that the young men going off to die h ave a narrative, representationally and cosmically, where many others do not. The first sentence of this passage is Mrs. Jarvis claiming she has no sympathy for those who have passed on—given the context and subject of the book, this is inevitably interpreted as those fighting in World War I, or at least includes them. As she says this, Mrs. Jarvis engages in a perfunctory, thoughtless motion, designed to give her more comfort. She is unsatisfied with her position, in other words. Betty, however, does not pay attention. She is thoroughly encapsulated in her current chore, and it is so loud and thought consuming she does not take in what her friend has said. Next, Mrs. Jarvis says that the dead are at rest. Their time is at an end. Something with an ending has meaning, definition, and meaning is better than almost anything at effacing pain. Not only does the act of getting killed end life and all the little hurts and disappointments which come with it, but it also makes what t he dead person did important, or part of a story. The soldiers—including Jacob Flanders—who died in World War I, did have a purpose, which was to die for their country. Many of them didn’t even live long enough to doubt that purpose. But no one plays recruitment anthems from Mrs. Jarvis and Betty Flanders, or claims that the countless emotional sacrifices and compromises they’ve made were done for a purpose. This is why Mrs. Jarvis continues â€Å"And we spend our days doing foolish, unnecessary things without knowing why.’† Not only is it true on a larger scale—the living are not made martyrs or subjects of stories, whilst the dead frequently are used as heroes or examples in social narratives—but even in the passage, we see both women engaged in meaningless, unimportant tasks designed in their own ways to provide comfort. Mrs. Jarvis’s moving and shifting provides her with a better-feeling position, whilst Betty Flande rs’ cutting drowns out Mrs. Jarvis’ harsh words. And yet, despite implying this moment is tiny and ultimately meaningless, the whole novel is comprised of such exchanges, chance encounters, and random moments—not of vainglorious deaths or charges over the top. What might have passed for a conversation over tea with accompanying chores in some other book here resembles something of a gladiatorial game, with epic implications. Clearly it is because Woolf thinks these trivial events are in their own way of crucial importance—no more or less than a gory battle—and more than that, because she is attempting to provide a sort of meaning for the neglected and nameless civilians of the war, who, while living, never found or were given one. Another example of such an instance comes very near the novel’s end, when, lying alone in bed, Betty Flanders hears a loud booming noise she has come to associate with martial activity: â€Å"Again, far away, she heard the dull sound, as if nocturnal women were beating great c arpets. There was Morty lost, and Seabrook dead; her sons fighting for their country. But were the chickens safe? Was that someone moving downstairs? Rebecca with the toothache? No. The nocturnal women were beating great carpets. Her hens shifted slightly on their perches,† (Woolf 246). Earlier, Betty has mistaken these thumping noises for guns, but now describes them as â€Å"Nocturnal women beating great carpets.† In doing so she equates the fairly mundane task of beating the dust out of a carpet with the turmoil of World War I. More importantly, she describes the women as nocturnal, not only because she is currently in bed at night, but because the wars women fight in this world are unseen, cloaked in darkness, hidden from view by the loud bangs and bloodshed of war. In the next few sentences, we see her, clinically go through a list of ‘casualties’ or the men in her life who have left for one reason or another. But, despite this, the act of losing her s ons and lovers does not affect her nearly so much as the other tiny battles she must keep from losing—the chickens in their coop, someone downstairs, Rebecca’s hurt mouth. Seabrook is dead, his troubles are over. Jacob, too, is soon to be gone. But Betty need not lose her chickens to foxes, nor her property to burglars. In fact, she cuts off her list of dead male relations in order to focus more clearly on the tasks still at hand. And even when she has assured herself that the hens are safe, like her, only shifting slightly, still the omnipresent thundering hangs over all of them. She stands to lose more, but can do nothing about it but wait, and occupy her mind with thoughts of her hens, until more news comes of her sons, or of the war. She suffers the same stress, but has been denied the agency and recognition given to her male counterparts. One passage in the book which I found to be supremely important was the following: â€Å"Could one read them year in and year out—the unpublished works of women, written by the fireside in pale profusion, dried by the flame, for the blotting-paper’s worn to holes and the nib cleft and clotted,† (Woolf 123). All the passage really tries to say is that women write as many manuscripts as men, countless different works of engaging nature, most of which aren’t seen—partially because of their temporal nature, partially because the world they live in does not value their contribution. In a way, that’s all Jacob’s Room is; a documentation of the myriad unread female narratives blotted out by the bloodstains of the war. They did not stop happening simply because we no longer hear or read about them. Indeed, in a certain light, they could be called as bad or worse as what was suffered by Wilfred Owen and Jacob Flanders—at least the latter figures had an end to their suffering in sight—no war goes on forever, and no soldier can survive every battle. Eventually, they would go home or die. This isn’t the case for the women they left behind. For them, there will always be another chicken to check on, another letter to stamp, and another war to take their families away. The title of Woolf’s novel may be Jacob’s Room, but that room is emptied of its rather uninteresting occupant, in order to afford us a better view of the street below teeming with unheard and unseen travelers. Through her choice of setting, unique characteri zation and format, Woolf creates a story which supplants the masculine martyr narrative with a new type of story; one centered on the struggles of anonymous civilians, mainly women.

Periodical Cicadas (13- and 17-Year Cycles)

Shadows in the Yellow Wood The Dark Side of Rober Frosts...

Shadows in the Yellow Wood: The Dark Side of Robert Frost’s Poetry Robert Frost is one of the most widely-read and recognized poets of the twentieth century, if not all time. If his name is mentioned, it is usually followed by a reference to two roads diverged in a yellow wood and taking the one less traveled by. But lurking in the shadows of the yellow wood of Frost’s poetry are much deeper meanings than are immediately apparent. As the modern poet Billy Collins says in his â€Å"Introduction to Poetry†, in order to find the true meaning of a poem we must â€Å"†¦hold it up to the light/ like a color slide† instead of â€Å"†¦beating it with a hose/ to find out what it really means† (1-16). When Frost’s poems are held up to the light, it is revealed†¦show more content†¦Frost uses all these devices to illustrate the fact that all things in life are transient, so each moment should be experienced, enjoyed, and accepted (Caravantes 94). Another one of Robert Frost’s poems that contains a theme of destruction is â€Å"Fire and Ice†, in which he discusses the two ways he thinks the world will end: â€Å"Some say the world will end in fire, / Some say in ice† (1-2). Here fire is a symbol for the destructive ways of humanity and the selfish fighting that could end its days. Ice is symbolic of the cold indifference and hate of which humans are also capable; they will ignore each other’s suffering until the human race is entirely wiped out. Either way, according to Frost, humanity will be the cause of its own destruction in the end. In both these poems, the dark theme of endings is apparent. Frost also examines the search for truth that is central to every life. His poem â€Å"Neither Out Far Nor In Deep† uses the image of people standing on a beach looking out to sea as a metaphor for this search for truth. It reads: The land may vary more; But wherever the truth may be— The water comes ashore, And the people look at the sea. (â€Å"Neither† 9-12) The land is the ever-changing society that all humans must live in, but just as the sea never stops coming ashore, the truth will never cease to exist, no matter how much the land (or society) might change. People look at

Laminitis In Horses Essay Example For Students

Laminitis In Horses Essay Laminitis in HorsesABSTRACT: Laminitis is a painful and serious disease that can cause lameness in horses. It is an inflammation of the laminae. The Laminae is tissue that connects coffin bone and the wall of the hoof. Laminitis can occur in any horse, usually obese horses, and ponies. It is caused by changes of horses feed, lush grass, retained placenta, intake of cold water while horse is still hot, surgery, trauma to the hoof, riding on hard ground. Key Words: Laminitis, Laminae, Inflammation, Founder, Coffin BoneIntroduction:Laminitis can occur in all horses. Ponies are more prone to laminitis, just as obese horses. A horse that has had too much grain intake recently, or is turned out in a lush grass paddock can get laminitis too. When a horse gets laminitis, the sensitive laminae which contains the blood flow, becomes inflamed and since there is little room in the hoof wall, the horse feels a lot of pressure, and pain. If this is not treated right away, it can lead to acute lami nitis, which is also known as founder. Founder is detachment and or movement of the coffin bone. When the bone detaches or moves it can make laminitis a permanent or chronic problem (Equine-world). Discussion:There are many different types of laminitis. There is grain founder, grass founder, water founder, and road founder. Each one of these can cause the same problem in the laminae. Grain founder is when a horse gets into a feed room and over does it, or if the horse is feed too much when not working enough. Grass founder is when a horse gets turned out in the spring to a lush field without being weaned on to the field slowly. Water founder is when a hot horse has had a lot of cold water intake. Road founder is when the horse is worked too hard on uneven surface (McArdle, C). Laminitis is weakening of the coffin bone. This weakening can come from a lack of blood supply to the area in the foot that is injured. In more severe cases, the lack of blood supply causes the laminae on the outside of the foot to detach from the laminae on the inside of the hoof wall. In the worst cases, the weakened laminaecan no longer support the weight of the horse, and the coffin bone moves to the wall. Movement of the bone can cut off blood supply to the laminae by squashing blood vessels. When the bone moves this is chronic laminitis also known as founder. With chronic laminitis the horses hoof has a dished appearance to it. ImplicationsLaminitis if caught early enough will not cause any damage to the horse or the horses job. The horse will live a healthy life after laminitis. But if it is not caught early, there could be many problems in the long run. That is why it is very important to know the signs of laminitis. The signs are that the horse could be stiff coming out of t he stall or field usually in the front end. Almost looking like a sore shoulder. The hoofs are hot to the touch. The horse looks restless, trying to find a comfortable way to rest his legs, pointing of the front toes. BibliographyLiterature Citedhttp://www.cvm.uiuc.edu/ceps/PetColumns/equine_laminitis.htmlhttp://www.equine-world.com/laminitis.htmlhttp://www.geocities.com/Nashville/1330/horses/laminitis.htmlMcArdle, Camille, D.V.M., Fear of Founder, Horse Illustrated, May 1996. http://saddleclub.dbw.org/danger.htmlhttp://www.olympus.net/personal/pvd/pvd.htmlAnimal Science