Understand how to safeguard the well-being of children and young people Essay

2.1 It is important to safeguard children and young people in a setting to ensure they can feel safe and secure. We must protect children and young people from abuse or neglect, ensure they stay safe and healthy and continue to develop well. 2.2 It is important to have a child centred approach so that the child’s feelings are experiences are taken into account and therefore any further distress can be avoided. 2.3 Partnership working in the context of safe guarding refers to the sharing of information between different agencies and collaborative working. It is important to feel that a child’s welfare is safe guarded regardless of there they are from and who’s looking after them at all times. For example, children who attend multiple settings, such as primary school and an after school club. It is important that these settings work closely together to ensure the child is safe, healthy and developing. Practitioners must ensure continuity and coherence by sharing relevant information with each other parents or carers. 2.4 When a child is abused or harmed, there are many agencies that may be involved. The fist is likely to be the social services ( after a referral). Referrals are likely to be made by a school or childcare provider. It is part of every person working with young children’s responsibility to report any signs of abuse or neglect to their safeguarding coordinator who will refer the case to the local social services hub. Other organisations and practitioners who have a duty of care to report any of these signs include doctors, nurses, health visitors and play schemes. Social services then carry out an initial assessment as a response and the possible decisions include; Offering services and support to the child and their family. This will only be decided if it is judged that the child is not in any immediate danger. Urgent action to protect the child from harm such as obtaining a court order to remove the child from the care of their parents and placed into safe temporary care. A discussion to discuss further strategy will then  take place. Staff in schools or other settings where they care for children must never try to independently investigate the circumstances of the abuse or neglect themselves, but their input may be requested in the initial assessment meetings, and their cooperation with the continued plan is important. 3.1 Every person working in the setting must be a suitable person to work with young children, must have a valid CRB check and must be assessed by the Independent Safeguarding Authority. Practitioners must actively promote the well being of every child. This includes providing every opportunity for children and young people to learn and develop, play and communicate and socialise in the setting. Children and young people also need healthy, nutritious food and the opportunity to move their bodies and exercise. They need to be able to make decisions and develop an appropriate level of independence. Practitioners also have a responsibility to provide extra support to children who’s needs are not being met, by working with parents and other professionals. Some children in early years settings mya present a delay in development, or emotional of social difficulties, which may be the result of adverse early years experiences, like witnessing domestic violence or growing up with a parent with a mental illness. This extra support could include helping the parent join a â€Å"stay and play† group to make friends and build a support group, or by working with a clinical psychology service to give advice on things such as bedtimes. This work can be coordinated under the CAF. 3.2 It is important to have policies and procedures in place to protect children and the adults who work with them. Policies and procedures that should be in place within settings for safe working include; duty of care, whistle blowing, power and position of trust, physical contact, photography and video and off site visits. The setting’s policy for safe guarding should include the settings’ name and the type of service it provides, the name of the child protection officer, the importance of child protection and outline the relevant part of UK legislation, everyone’s responsibility to safeguard, how the setting will meet this obligation, the safeguarding policy works together with other policies, such as the equality and diversity policy,  behaviour and partnership with parents. The procedure should inform how the policy will be put into practice on a daily basis. The procedure should be clear on the following points; the obligation to respond appropriately in a timely fashion, a brief summary of signs to look out for with reference to the relevant guidance document, the steps that should be taken if there are concerns, specific guidance and effective safeguarding. 3.3 There may be an occasion where you work in a setting and you believe that there are incidences of poor practice. For example, a staff member has raised concerns about a child’s welfare and reported these to the child protection officer. The child’s parents are on the school governing body. The child protection officer’s response is that â€Å"they’re not the sort of people to harm their child†. In cases like these it is very important that action is taken before the situation becomes worsened. Make it clear to the person you have reported to that the situation is dangerous and illegal and that you may feel it necessary to â€Å"blow the whistle† is necessary. Whistle blowers are legally protected against bullying being sacked or disciplined if they have acted in good faith. 3.4 Practitioners can protect themselves within their every day practice in and out of the setting by knowing their company policy. Schools and early years settings can keep children safe by having effective recruitment procedures, management and general operation policy. The children’s intimate care should be coordinated by the child’s key person so they don’t feel like just anyone can take them aside and undress them, this ensures their right to privacy is upheld. Is possible, children should be asked is they consent to offers of intimate care. Early years settings are required to have a policy for allegations made against staff. This will cover cases where a child, parent of other staff member has made the allegation. Practitioners participating in an off site visit have a duty to protect children from harm on the visit. Unqualified staff or volunteers mustn’t be left in sole charge of children and young people on an off site visit, unless deemed safe through a risk assessment. There should be a minimum of two adults participating in an off site visit, and must not be put in a situation where they are alone with a child away form the group. 4.1 Possible signs and symptoms that may indicate abuse or neglect and be cause for concern are outlined in the NSPCC’s â€Å"Learn to recognise signs of abuse†. A baby or toddler who is always crying a child who often has injuries or bruises a child who is often very withdrawn a child who often wears dirty clothes, is unwashed for a long period of times a child who is frequently very hungry a child who is often inappropriately dressed for the weather or season any indications a child is being left alone at home or unsupervised a child who does not receive medical treatment they need  a child who is mocked, sworn at, constantly joked about or made to feel foolish a child who expresses fear about particular adults, seams reluctant to be picked up by specific people, afraid to be left alone with that person. A child who has strong mood swings- anxiety, depression, uncontained anger or aggression. A child who has sexual knowledge, used sexual words or sexual behaviour that is not appropriate for their age. A child who is witnessing domestic violence A child who it witnessing significant alcohol or drug abuse. The NSPCC advised that you trust your judgement on a situation. 4.2 If a child make an allegation of abuse or harm, you must first record exactly what the child or young person has said and anything you may have noticed about the child or young person. Then discuss the concerns as a matter or urgency with the named member of staff within the setting. In my own setting, each room has a named person (usually the room leader) and the deputy manager is also a named person. In the case that I had a concern, I would first speak to the appropriate named person. In some cases it is acceptable to speak to the parent. For example, if a child has come into the setting with a number of bruises, either myself or the named person would ask the parent how the marks were acquired. I would then fill in an incident report describing the marks and ask the parent to sign it. If the parents account did not seam legitimate, I would then fill in a â€Å"cause for concern†Ã‚  report sheet. Both of these are filed in the child’s personal file, along with an y other reports of a similar nature. I would then be told of the action made by the named person. If the parents account seams reasonable based on what we know of the child’s behaviour within the setting, the named person may decide to take no further action. They may decide to advise the child’s parents, for example, what sort of clothes the child needs to wear. The child will then be monitored by his or her key person to see if the advise is followed up on. They may offer support for example, by making an appointment with a clinical psychologist. They may decide to refer the family to support at the children’s centre. They may decide however that serious action need to be taken and refer the incident to the Children’s Social Care (social services). If I feel that the action taken by the named person is inadequate, I would contact the Nursery owner, and then social services myself. There is the option of a â€Å"no names† interview with social services if I am unsure of what action to take. 4.3 In situations where abuse has been suspected, it is important to be mindful of the rights of the children and of their carers. In general, any information disclosed is confidential. If information circulates too freely, it can leave children and adults feeling too vulnerable and they may stop sharing information with you. If a parent disclosed information to you which you feel should be shared for the child’s benefit, the parent should feel they can consent or withhold consent freely ( assuming the child’s safety isn’t compromised). We must never disclose information inappropriately for example to people not within the setting. Everyone has the right to privacy. If sharing information is necessary to the child’s safety, you must do so. Start by discussing with the parent why you must share the information, explain that you are legally obligated to do so. If in doubt, seek advise from your named person. 5.1 There are many different types of bullying, including physical, verbal or indirect bullying. Physical bullying includes hitting kicking and taking belongings. Verbal bullying includes name calling, insulting and making  offensive remarks. Indirect bullying includes the spreading of rumours, exclusion form a social group, sending malicious emails or texts. There is never an excuse for bullying behaviour. Children and young people are more likely to be bullied if they are; shy or have an overprotective family environment, are from a different racial or ethnic group to the majority, appear different in some respects, have special needs such as a learning difficulty, behave inappropriately or have less developed social and interpersonal skills, possess expensive accessories such as a mobile phone or computer game. Bullying can lead to low self esteem in children and young people and can often leave them feeling hopeless. Children and young people who are experiencing bullying may be reluctant to attend the setting and may therefore have poor attendance. They may be more anxious and insecure than others, have fewer friends and may often feel unhappy or lonely. This will, in turn, effect all areas of their holistic development. 5.2 Some types of bullying may amount to unlawful discrimination. All settings must have a policy and system to deal with bullying. Policies must include reference to bullying in all forms such as bullying on grounds of body shape or size, homophobic bullying, racist bullying, faith based bulling, ageist bullying, disability bullying and sexist bullying. These policies and procedures are in place to protect people and to understand how best to support victims and their families. Children and young people should be provided with information about sources of help such as Childline or The Samaritans. If bullying is suspected or reported, within our setting, the issue will be dealt with by the child’s key person. The EYFS required that â€Å"Children’s behaviour must be managed effectively and in a manner that is appropriate for their stage of development and individual needs†. If bullying occurs within the staff team, it must be reported to the Company director (nur sery owner) who will deal with it as a matter or urgency. 5.3 Practitioners should work in partnership with parents to a support the victim of bullying. They can do this by helping the child improve their personal and social skills, including assertiveness techniques and conflict resolution. You can also provide support by encouraging the child to talk, listen to their problems, believing them if they say they are being bullied,  providing reassurance that it is not their fault, discussing the issue with a senior member of staff and taking action by following the settings’ anti-bulling procedure. 6.1 Children’s self esteem can be greatly boosted by an effective key person approach. Many aspects of this support the safeguarding of children. Listening and tuning into a child are import aspects of this. The key person notices changes in the child’s behaviour and emotion well being and developing a trusting relationship so that the child feel like they can talk to their key person about thing that are upsetting them. The child must know that you are there to listen and will believe what he or she is telling you. It is important to allow the child to express their feelings, such as anger, sadness and happiness, they may feel more confident that they can have a range of emotions. You can increase a child’s confidence by making the child feel a sense of belonging and that they have a unique set of qualities that are valued. It is important to show genuine interest in what a child is doing or saying. You can also work with parents to support their child’s self confidence and self esteem. Help a parent to understand that their child is finding a particular situation difficult and wha they can do to help, support parent with practical advise such as care or clothing, offer emotional and practical support in cases of family conflict or domestic violence. 6.2 Resilience is a crucial life skill that children require to survive the turbulences that life can provide. Resilience provides a person with the ability to deal with arising issues without it largely effecting their well being. It is something that they will develop in childhood and take with them into adult hood while continuing to improve their strength of resilience. It is therefore extremely important that adults support the resilience of young people. It teaches them to act in a way that will repair any damage caused by a major life event, good or bad, and enables them to regain self esteem. A lack of resilience can lead to cases of depression in an arising situation where the person feels unable to cope. If children are resilient it will help them in everyday life as a child, to overcome issues, hold onto self-esteem if victims of bullying and be better at dealing with  life. This will enable them ot be happier individuals who can carry this resilience into adult life. 6.3 It is important to work with children to enable them to have the strategies to protect themselves for neglect or abuse so they have a means of preventing it from happening. As part of this prevention role it is important that children understand what is and isn’t acceptable behaviour towards them, how to stay safe from harm, speak up if they have any worries or concerns, develop awareness and resilience. Being actively involved in prevention helps children stay safe both in the present and in the future. 6.4 One way to empower children and young people to make positive and informed decisions that will support their well being and safety is to encourage them to trust their own feelings and judgement in difficult situations. You can use role play as a tool to help them think about what to do if their friends are doing something they feel uncomfortable with such as having sex, drinking, drugs etc. Peer pressure can often be very strong, children and young people to decide upon limits for what they will and wont do so they can cope if a situation does arise. Make suer children understand the dangers of situations that may put their safety at risk, such a; being left home alone, playing in deserted or dark places, being out on their own, talking to strangers, accepting lifts from strangers and walking home alone, especially in the dark. Role play, stories and television can also be used to discuss acceptable risk taking. Children can discuss the actions of characters and identify risks they are taking in their own lives. Children also need to know where they can go to get help if they need it. They should be encouraging to find people in the setting or within their community who can help keep them safe. 7.1 Risks associated with using the internet and mobile phones usually revolve around contact with strangers, either posing as themselves or someone the child may trust. These people may try to obtain information from them, coerce them into meeting them which is highly dangerous. There are also issues of fraud around online shopping where criminals can obtain bank account details from the website used and use them as a theft devise. 7.2 You can reduce risks of using social networking sites (including chat rooms) by teaching children not to give out personal information that could lead the recipient to discover who they are and never arrange to meet anyone they have â€Å"met† in a chatroom. If young people wish to use social networking sites, they should be taught how to make the settings of they profile private so that only accepted people they know and trust can view their postings. Additionally, children and young people should be taught only to accept â€Å"friend requests† from people they are friends with in real life. They should never disclose personal information online. Filtering systems can be used to stop children and young people accessing inappropriate content on the internet. The curriculum should also provide opportunities to teach internet safety in ICT lessons. There should be procedures in p[lace to deal with â€Å"personal alleging† by a child or young person as a result of internet safety education. The setting must have a nominated member of staff who is in charge of child protection issues. It is important that children and young people are aware of the risks of online shopping. They should be encouraged to ensure their computer has anti-virus software and a firewall in place to provide protection against the potential risks of online shopping. You should only use online retailers you trust and check their privacy policy before buying anything. Ensure that you have a strong password and know what a secure website looks like. Print out a copy of any online orders you have made and always check your bank statement after buying anything online. UK mobile phone operators take steps to protect children and young people from accessing inappropriate material on their phones. They do this using internet filters, and having the option to register a mobile phone as a child so they can not access material for over 18s. They also advise that bluetooth (which enables bluetooth users to â€Å"talk† to each other) is turned off on children and young people’s phones. Chil dren and young people can be educated on e-safety by being given the following tips; Think carefully about who you give your mobile number to. Do not reply to any unwanted texts or messages.  Be careful what you download to your phone as there are growing numbers of viruses. Check with your friends if you are planning to upload a photo or video with them in it before uploading it. Remember to take control of your own image as one picture can become permanent when uploaded to the internet.

Pdf Silence! the Court Is in Session †Vijay Tendulkar Essay

Department of Humanities and Social Sciences, JNTUACEP,YSR Kadapa (Dist),Andhra Pradesh, India ABSTRACT A criticism against Indian Judicial system that ‘the failure of modern legal theory and practice lies in its understanding of what it is to be a human being’ can be undoubtedly attributed to the themes of Vijay Tendulkar’s play Silence! The Court Is In Session. The play barbs against existing judicial system at two levels. Firstly, it can be studied as a ‘legal plea’ which demands for emancipation, equality and liberation of women and stresses the need for a social transformation of law, culture, and social patterns which release women’s potential, where the legal curriculum has neglected issues of central concern of women like: rape, domestic violence, reproduction, unequal pay, sex determination and sexual harassment, from Benare’s ‘case study’: Secondly, the play can be a thesis on elite-court relations in India as an unsatisfactory arrangement, where being structurally part of the state, the courts are expected to maintain a high degree of independence and to be ensured of a democratic policy. The play is highly relevant as it discusses the present atrocities occurring on women throughout India including Delhi ‘Nirbhaya’ gang rape case and demands for verdict and bits the elite society to ponder on the issue seriously. Key words: Judicial system, Unequal treatment, Legal plea, elite-court relations, Play within the play Dr. MEDIKONDA SAMBAIAH Mrs. KATUMALA SANDHYA Article Received on : 26/03/2013 Article revised from: 28/03/2013 Article accepted on: 28/05/2013 The stimulus for Silence! The Court is in Session came from a real incident for the writer. Tendulkar met an amateur group which was on its way to stage a mock-trial in Vile Parle, a suburb of Bombay. While overhearing their conversation, the outline of a play began taking shape in the writer’s mind and resulted in the creation of Silence! The Court is in Session. The play was written for Rangayana at the instance of Arvind and Sulabh Deshpande and was first performed in March 1971 in Madras. When the play was first performed in 1967 for a drama competition by the small group, it was rejected by the judges who said it was not play. But later it received The Kamaladevi Chatterpadhyaya award and was translated in fourteen Indian languages. The play was staged all over India in different versions. In a sense Marathi drama found a place on the national map and Tendulkar was recognized at the national level. When asked in an interview: â€Å"This play is a caustic satire on the social as well as justice†¦.The mental agony suffered by the girl throughout the play is in no way less than the legal punishment. Is that all you 102 VIJAY TENDULKAR’S ‘SILENCE! THE COURT IS IN SESSION’†¦| Medikonda Sambaiah et al Research Journal of English Language and Literature (RJELAL) A Peer Reviewed International Journal – http://www.rjelal.com wished to convey or something more?† Tendulkar said: â€Å"This is exactly what I had in mind. If I say anything else now, that will be an after-thought. An undaunted girl of Benare’s make-up could have, besides defending herself, made a  counter-attack , tearing to pieces the dos and don’ts of the selfish society. Had I shown her aggressive that would have been attitude, not hers? Otherwise also the playwright should only suggest leaving the rest 1 to the viewers.† The opening scene of the play turns into a marvellous piece of satire by pitting the self-consciously independent, vehemently assertive, and immensely cheerful Benare against the utterly selfish, hypocritical and malicious amateur artists and paves the way as to how they are going to judge and reverse the natural justice. The scene depicts how an average middle class woman strives and struggles for preserving her womanhood and motherhood and her thirst to be accepted by the society. As the curtain rises, Samant, a local chap and Leela Benare, the heroine are found conversing. She springs a surprise on the rustic Samant with a sudden confidential proposal: â€Å"Let’s leave everyone behind, I thought, and go somewhere far, far, away – with you†! [Silence! The Court is in 2 Session]. When she makes this observation, she has Professor Damle in her mind. Benare, after telling Samant that the school management is holding an enquiry against her â€Å"just because of o ne bit of slander†. [58] The depiction of unsecured condition of Benare explores the problems that exist among Indian women towards legal rights and her absence of awareness about legislations and their enforcement and inadequacies of legal provisions. The tragic and bottle neck like situation reminds the audience of Banavari Devi, Nina Sahni, Tasneem Sheikh Suhail, Delhi model Jessica Lal and Nirbhaya claims Vijay Tendulkar as a man of relevance to the contemporary society, where the practices like – eve teasing, whistling at girls, bottom pinching and are common phenomenon among Indian youngsters, apart from big incidents like gang rapes and murders. The purpose why the dramatist has selected different persons from different backgrounds can give some clues about the judicial circle and their Vol.1.Issue.1.;2013 judicial culture. In fact, all these characters are the representatives of the existing personalities in judicial circle with their personal, familial, educational, ethical and professional defects. Mrs. Kashikars, Sukhatme, Balu Rokde, Gopal Ponkshe and Karnik are the various typical personalities  in judicial circle. The very fact of Mrs. Kashikar’s collusion in the attack on Benare demonstrates how women internalize the dominance of men over themselves as a natural phenomenon and turn against other transgressing women as the ‘other’. Had Benare been the economically power, she might have protested more actively. Her present position is evidence that among educated women, concern for status has a positive relationship with age and employment. It has been found that the working educated women have higher concern for status than the non-working women or house wives. The commencement of the ‘Mock-trial’, which constitutes a ‘play-within-the-play’, offers Tendulkar ample scope to dissect and lay bare the dormant ills of discontent in the psyche of these urban hypocrites. Though, they gang themselves up against a hapless Benare for the time being, they have nothing but spite for one another. Rokde symbolizes lumped public which is enveloped in the culture of dependency and carried away by the lures of money, power and threat. Throughout the play, he is not allowed enough time to exercise his intelligent challenges to prospective jurors. Ponkshe and Karnik are the other two catalysts who have their active role in the plot against Benare. When Benare goes into the inner room to wash her face, Karnik takes Ponkshe aside and indicating the inner room into which Benare has just gone, tells him if he knows anything about her: â€Å"About her, About Miss. Benare. Rokde told me†. The stylistic gimmicks used by Ponkshe and Karnik sometimes speak a lot louder than the words they actually speak. As witness their technique is not to argue the case but to present the issues. These two people represent the educated elite in the society, who have to demand for ‘order of proof’ as yardstick before asking the jury to measure the complaint. But these people lack the logical order of proof for their expert testimony. The interrogatory procedure is so convincing that the legal professionals have been encouraging litigation more and more by giving impetus to disputes. There is a widespread belief both among litigating public and legislators, the intervention of lawyers in court 103 VIJAY TENDULKAR’S ‘SILENCE! THE COURT IS IN SESSION’†¦| Medikonda Sambaiah et al Research Journal of English Language and Literature (RJELAL) A Peer Reviewed International Journal – http://www.rjelal.com proceedings have the built-in tendency to delay the disposal of cases. The legal profession is no longer service-oriented but profit-oriented. Sometimes lawyers on both sides join hands to make both the parties compromise even if the clients have to suffer the loss. Majority of the lawyers harass their clients for more and more fee, false bills, while not taking the required interest in the case. In all his arguments there is no ethical creation of evidence. He indulges simply in word games and forgets the joint liability of Damle. All these things show that Mr. Sukhatme’s role in the play is a replica of the legal professionalism and an evidence of how â€Å"there is a fall in efficiency and standard at the Bar and which is on the verge of collapse.† In a perceptive analysis of justice, gender and the justice in American society, Deborah Rhode observed: â€Å"Without a fundamental reordering of cultural values, women cannot hope to secure true equality, and social status. In that constructive enterprise, law can play a modest but more effective 4 role.† This is more so in Indian society with a high level of illiteracy and strong traditions of gender inequalities. That is what happens in Benare’s case. Certainly, the play Silence! The Court is in Session is a question against existing legal curriculum. There is no roadmap for the image of reality in the procedure of the prosecution. There is an absence of trial dynamism in the play. The entire trial rotates around gimmick but is not based on evidence. There is no opening statement which tells to the jury the plaintiff claims in a direct and reasonable way. It must give the jury an overview of what the evidence will show and what the evidence will be without argumentative hype and individualistic exhibitionism. Missing direct or cross examination ruthlessly rules out the fundamental rules of natural justice i.e. ‘no body can be a judge in his own cause’ and ‘no body should be condemned unheard’. The foundations for the verdict ‘let the witness be himself’ is not at all observed. There is no review of the evidence offered by both sides. The judge rules based on what the lawyer presents. It seems that instructions to jurors will directly affect their judgment. The doctrine of 5 locus standi, a principle that the judicial time as well as energy ought not be wasted  over hypothetical or abstract questions, has been neglected and the truth that the trial is the ‘time of decision’ and the ‘moment of truth’ has been gained and gathered, assessed, weighed and measured for hours together in the dock room. Vol.1.Issue.1.;2013 Vijay Tendulkar who is acclaimed as ‘articulatory of violence’ in the modern Marathi theatre brings another dimension of the ‘cruelty’ in the play. He demands that the concept of cruelty is to be redefined along with the socio-economic changes in the society. The playwright proves how it could be possible that cruelty was ‘intentionally aimed at’ by the provisions of the law itself. It seems that he joins with radical criminologists in seeking to redefine ‘harm’ in the criminological arena of victimology. Similarly, the playwright focuses on the maleness of legal proceedings, specifically the trial of sexual crimes like abortion and pre and extra marital relationships. Simply, in trials the procedure is designed to break down the story of the woman complainant both by subjecting it to vigorous doubt and by implicitly serializing it. The victim becomes an object of the male gaze and forced to relieve her ordeal, which itself becomes another assault. In the play, it is very clear that the exploration of body and sexuality is done through fierce and bold debate by the testimonies of Balu Rokde and Karnik. Tendulkar poses another important question to the legal provisions of women in India. If the child is a legitimate one, the father is honoured with the guardianship of the child. But if the child is illegitimate the mother is the guardian, and she alone has to bear the stigma and humiliation of every day social pin-pointing as well as the responsibility of bringing up the child. The law makes no distinction between legitimate and illegitimate child when it imposes on the father an obligation to maintain 6 children. But if it is under the guardianship of the mother, the man escapes everyday disgrace by merely paying the maintenance amount, at the most! To put it briefly, ‘the law recognizes the patriarchal system of family in which father 7 supreme.† Doubtlessly, it is the supreme talent of the dramatist that the violence of the play is superbly sugar-coated with the technique of play within the play. Without this technique Tendulkar  could not have made his characters directly attack Benare on the charge of infanticide. The play is widely acclaimed for this technique. Dnyaneshwar Nadkarni pays a tribute to the play: â€Å"Silence! The Court is in Session comes as a turning point in Tendulkar’s career. It has a play in rehearsal and a real-life story, and the two intertwine to produce some unusual 8 confrontations.† 104 VIJAY TENDULKAR’S ‘SILENCE! THE COURT IS IN SESSION’†¦| Medikonda Sambaiah et al Research Journal of English Language and Literature (RJELAL) A Peer Reviewed International Journal – http://www.rjelal.com However, Tendulkar depicts Benare as â€Å"a modern 9 woman† who is capable of protecting herself and 9 her body in a male dominated society . He does not let Benare kill herself or feel shy about the whole episode, but makes her fight till the end. Apart from all the criticism as she faced in the play, the character of Benare remains as a lovely spark from the thunderbolt of Tendulkar, in the Modern Marathi theatre. She is a new woman pleading for freedom from social and legal norms. Even though Tendulkar 10 said that writing this play was ‘drudgery’ to him, the credit of raising him to the top of the Indian theatre goes to this play Silence! The Court is in Session. Vol.1.Issue.1.;2013 REFERENCES 1. Vijay Tendulkar. â€Å"Drama: The Most Difficult, But the Most Powerful Medium.† Interviews with Indian Writers, New World Literature Series, B-18, p.280 2. Vijay Tendulkar. Collected Plays in Translation: Silence! The Court is in Session, translated by Priya Adarkar, New Delhi, Oxford University Press, 2003, p.55. 3. Quoted in â€Å"System on the Verge of Collapse†, India Abroad , New York, February 4, 1994. 4. Deborah Rhode. â€Å"Justice, Gender and the Justice† in Crites Lawra L, and Hepperle Winifred L (eds), ‘Women, The Courts and Equality’. 1978, p.10. 5. Roma Mukherjee. Women, Law and Free Legal Aid in India, Deep & Deep Publications Pvt. Ltd., New Delhi, 1998, p.64. 6. Sect. (2), Adoptions and The Hindu Maintenance Act, 1956. 7. Ved Kumari. â€Å"Place of Women and Child in Guardianship† in Lotika Sarkar and B. Sivaramayya (eds), ‘Women and Law: Contemporary Problems’ Vikas PublishingHouse Pvt. Ltd. New Delhi, 1994, p.242. 8. Sudhir Sonalkar. â€Å"Vijay Tendulkar and the Metaphor of Violence†, The Illustrated Weekly of India, November 18-24, 1993, p.20. 9. Veena Noble Dass. â€Å"Women Characters in the Plays of Tendulkar†, New Directions in Indian Drama (ed) Sudhakar Pandey and Freya Barva, Prestige publications, New Delhi, 1994, p.11. 10. Vijay Tendulkar. â€Å"Interview†, The Indian Literary Review, Vol.I, p.12. 105 VIJAY TENDULKAR’S ‘SILENCE! THE COURT IS IN SESSION’†¦| Medikonda Sambaiah et al

Death Represenataion in Sylvia Plath’s Selected Poems Essay

Death Representation in Sylvia Plath’s Selected Poems Mohamed Fleih Hassan Instructor English Dept. / Abstract Death is one of the significant and recurrent themes in the poetry of Sylvia Plath. This paper aims at showing the poet’s attitudes towards death. Certain poems are selected to show the poet’s different attitudes to death: death as a rebirth or renewal, and death as an end. Most obvious factors shaped her attitudes towards death were the early death of her father that left her unsecured, and the unfaithfulness of her husband, Ted Hughes, who left her dejected and melancholic. Plath’s ‘Two views of a Cadaver Room’, ‘Sheep in Fog’, ‘A Birthday Present’, ‘Edge’, and ‘I Am Vertical’ are selected to outline her various perspectives towards death. Death Representation in Sylvia Plath’s Selected Poems Generally speaking, death is represented in literature in various ways shifting from being an ominous terrifying force to a means of fulfillment and new beginnings. Death came to be a recurrent theme in Sylvia Plath’s poetry due to the sudden death of her father. His death left the daughter with powerful feelings of defeat, resentment, grief and remorse. So the absence of the father had influenced her emotional life negatively to the extent that it is reflected clearly in her poems. Sylvia Plath (1932-1963) passed in periods of depression and there were precursors of suicidal act through fits of breakdown. Among the reasons for her early depression are the early death of her father that left her unsecured and her failure to attend a writing class at Harvard. Though she got a chair as a college guest-editor of the Mademoiselle, but she got monotonous with nothing to fall back on in New York. She broke down with the unfulfillment of her dream of being a successful writer. Therefore, she took an over-dose of sleeping-pills to end her misery, but she was saved. 1 After successful psychiatric sessions of recovery, Plath met Ted Hughes at Cambridge and they got married in 1956. She found in him a motive and substitute for the absence of the father. Hughes believed in her exceptional gift. In that period, the couple got success and fame with their poetic development, especially when they got children. Her poems had been published in Britain and America like, The Colossus 1960, which dealt with Plath’s preoccupation with ideas of death and rebirth. Hughes’ love affair with another woman broke the heart of Plath, who suffered the devastation of the broken marriage. Shifting into a new flat in London, she started writing poems of rage, despair, love and vengeance but her poems were slowly accepted for publication. She suffered the traumatic breakdown and melancholia that she put her head in the oven in 11 April, 1963. 2 Death came to be a recurrent theme in the poetry of Sylvia Plath, and this theme has been represented in different ways in her poems. She did engage the reader either in a personal or an impersonal way to view death either as a liberating force or troubling depressing experience. Her depiction of death is reflected by the use of such techniques as imagery, language, structure, and tone. Her negative attitude towards death is caused by the early death of her father that left her dejected. In her poem ‘Two views of a Cadaver Room’ (1959), she presents a pessimistic point of view towards death. This poem recounts an experience she had while dating a young Harvard medical student. She followed her boyfriend and some other medical students into an operating room where the students were busily dissecting a preserved corpse. The speaker and her boyfriend are horrified by the experience, the narrator offers two views of the cadaver room as alternate possibilities of depicting death in art; the physical view of death and the romantic view of death. One view is epitomized by the cadaver room contrasting the romantic one of death, which is represented by a detail from a Brueghel painting depicting two lovers, who are spell bounded by one another and careless to the destruction and devastation around them. The poem is written in two parts. The first part creates a futile setting in which things are described in a ‘dissecting room’, which suggests a mood of despondency. She did so by the use of wastelandish simile through comparing cadaver with ‘burnt turkey’: The day she visited the dissecting room They had four men laid out, black as burnt t urkey, Already half unstrung. (II. 1-3) The place ‘dissecting room’ suggests mercilessness and dehumanization. The dead bodies are anatomized and bones are removed which suggest a horrible image. The poetess compares death with the dissector, in which it takes off the spirit out of the body as did the doctor in dissecting the major constituents of bodies. Death here represents a terrifying force that annihilates man’s life. The dissecting room serves as the epitome of scientific space, which is to say death’s space. And this is the space not only of female witnessing and female passivity, ‘she could scarcely make out anything/ In that rubble of skull plates and old leather’, but also of a bestowal from male to female, from male scientist to female poet. The process of dissecting the dead body indicates the savageness and carelessness of the surgeon, who cuts out the heart; the symbol of man’s life and feelings. The surgeon is associated with death in the sense that he extracts the heart of the body, ‘He hands her the cut-out heart like a cracked heirloom. ‘ The simile presents a very useless pessimistic image for the heart. The heart is not only reduced to a non-functioning machine, but a man hands death to a woman. The heart is the dearest to man and is compared to the heirloom which contains the memory of the dead, but it is uprooted maliciously. Death came to be an unavoidable inheritance. 4 In many of her poems, what Plath perceives is a death-figure which threatens to swallow her up unless she can reassert her living identity by â€Å"fixing† and thus immobilizing her enemy in a structured poetic image. Plath transforms death by assuming the role of a photo-journalist who observes the details in a way as to control the scene with the transforming power of language. She follows the technique of fusing various visual images in a meaningful way. Therefore, she transcends the literal immediacy of what she sees and creates order out of chaos. The second part paradoxes the first in showing a couple who are ignorant of the horrors of death. Their ignorance of the shadow of death around them intensifies their tragic catastrophic end: Two people only are blind to the carrion army: He, afloat in the sea of her blue satin Skirts, sings in the direction Of her bare shoulder, while she bends, Fingering a leaflet of music, over h im, Both of them deaf to the fiddle in the hands Of the death’s-head shadowing their song. (II. 13-19) Plath thinks that the second view was untenable. Confronting the literal physicality of death (as the narrator does in the first stanza), and ignoring that reality (as the lovers do in the Brueghel painting) seem hopelessly romantic and naive. The only way to relinquish the painful awareness of impending death is by relinquishing life itself. Plath committed suicide in her flat moving herself and her work into the domain of myth and psycho-mystical speculation. The second view of death is the bestowal of death that is interrupted by art. Paradoxically, this interruption of death by art is itself a kind of death, a freezing of life. The poem surveys with an eye which is blind and an ear which is deaf. If the lovers’ blindness and deafness to death’s music permits them to ‘flourish’, then this flourishing is ‘not for long’. Paradoxically, the work of art saves from death by paralyzing or fixing the living in an absolute present, which is to say a perfected present, but without future: This stalling of death’s triumph by art, this resistance of art to death, is itself a kind of death, since it reminds us that those lovers captured in art’s absolute present can do nothing at all. Just as there are two kinds of music here – the death’s-head’s and the lovers’ – so art is not placed in any simple opposition to death. 6 There are two kinds of death: on the one hand, death as process, as rebirth or renewal, as imaginary; and, on the other hand, death as end, as factuality. Plath rides into death in ‘Sheep in Fog’ (1963) but death is no longer conceived as renewal. The objective in ‘Sheep in Fog’ becomes the ‘dark water’: They threaten To let me through to a heaven Starless and fatherless, a dark water. (II. 13-15) The sense of dissolution is overpowering in this poem through thee description of the background of the poem. Each line and each stanza of the poem concerns the disappearance of something. ‘hills step off into whiteness’, ‘Morning has been blackening’ and the starless heaven leave her dejected and wretched. 7 ‘Sheep in Fog’ suggests that there is a radical sundering of poet and poetry, a death of the poet that is the life of the poetry, if only as that which is in mourning for the poet. The impersonality of Plath’s later poetry is not arrived at through an ethical self-sacrifice of the poet’s empirical, autobiographical self in the interests of a universal validity, a kind of immortality or proof against death. Rather, it is an impersonality in which there is a highly paradoxical and unstable relation between poet and poetry. 8 ‘A Birthday Present’ (1962) is another dramatic monologue in which terror and death predominate. The persona longs to know the gift presented by his friend. The speaker, her friend, and the object â€Å"talk† to each other in the kitchen. She imagines that the present may be ‘bones’, ‘a pearl button’, and ‘an ivory tusk’. Each of these things has white colour and suggests the nature of the birthday present that she wants. The three white objects—bones, pearl, and ivory tusk—all suggest death because they were once part of living organisms. The persona speaks of the veils around the present. In order to remove the concealing veil, which causes her anxiety and fear, the speaker demands an end to the screening off of death from view. She compares her life at the end of the poem to the arrival by mail of parts of her own corpse. At the end, the speaker demands as her birthday present not the previously mentioned symbols of death or the figure representing death, but death itself: 9 If it were death I would admire the deep gravity of it, its timeless eyes. I would know you were serious. There would be a nobility then, there would be a birthday. And the knife not carve, but enter Pure and clean as the cry of a baby, And the universe slide from my side. (II. 52-58) The poem dramatizes her birthday to be her death. The drama of ‘A Birthday Present’ is frightening in its transformation of a domestic and happy occasion into a celebration of suicide. It captures the movement of the speaker’s mind as she throws herself into the sequence of steps that might lead her to kill herself. Plath’s second perspective towards death is that it may be chosen by the individual himself as a means of self-destruction, rather than acting as a horrible exterminating force. The poetess aims to show the suffering and agony of the persona in selecting death as a means of liberation of the antagonistic world of the person. This perspective is reflected in Plath’s ‘Edge’, which was written on 5 February 1963 and is thought to be Plath’s last poem. According to Seamus Heaney, one of the biographers of Plath, the poem was a suicide note, which is to say an entirely personal, autobiographical communication from a distressed melancholic woman. For this reason, the poem is limited by the literal death of the poet, a death that cannot help but be read back into the poem. 10 This death is a negativity that renews, and works within an economy of life. This is not just an imaginary death, but death as a figure for the imagination itself, as a negativity that may be harnessed in the interests of life. This poem carries the reader not only to the very limit of life, but also to the limit of poetry. And yet, if in this poem the woman is ‘perfected’, it is through a death that takes the form of an aesthetic object, but in which the emphasis none the less falls very much on illusion. The speaker in this poem doesn’t endure the anguish of his life and feels that his misery is over: The illusion of a Greek necessity Flows in the scrolls of her toga Her bare Feet seem to be saying: We have come so far, it is over. (II. 4-8) The bare feet symbolize the lack of protection and immunity. The tone looks submissive but it indicates the willingness to accept death as an outlet and escape of the aggressive world. The persona feels alienated in the world around him. No one cares for the persona’s death even the moon, ‘The moon has nothing to be sad about/ Staring from her hood of bone. Therefore, she starts looking for something beyond death, which is the longing for perfection. Usually roses symbolize purity, so she compares her folding of the dead bodies of children as petals of a rose close. Therefore she thinks that through death, she will have a new beginning. 11 Death as a means of rebirth is reflected in Plath’s ‘I Am Vertical’. She sets images taken from nature as a background of her poem. This use of nature as a setting for her poem shows death not as a horrible monstrous thing. She presented two fruitful lively images of nature and then she negates her alikeness to them: I am not a tree with my root in the spoil Sucking up minerals and motherly love So that each March I may gleam into leaf, Nor am I the beauty of a garden bed Attracting my share of Ahs and spectacularly painted, Unknowing I must soon unpetal. (II. 2-7) The persona feels rejection of the surroundings when ‘the trees and flowers have been strewing their cool odours. I walk among them, but none of them are noticing. ‘ This represents the negligence of society and the social restraints that the individual feels. ‘each March I may gleam into leaf’ suggests the continuity of life and regeneration. She is longing to be united with nature via death; the nature that symbolizes serenity and tranquility, ‘Then the sky and I are in open conversation’. The word ‘sky’ gives death the sense of spirituality and elevation. The speaker is not satisfied in her life and she accepts death as a means for recognition: And I shall be useful when I lie down finally: Then the trees may touch me for once, and the flowers have time for me. (II. 19-20) Plath’s life is ended in a world of death and despondency from which there is no rebirth or transformation.

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Gilgamesh’s quest is to find Utnapishtim who was the only mortal to receive everlasting life. In an effort to erase humankind because of an uproar, the gods sent a big flood and asked Utnapishtim to build a boat to save himself. â€Å"Tear down your house and build a boat, abandon possessions and look for life, despise worldly goods and save your soul alive† (35). Here we are able to see another biblical reference to the Old Testament. Just as Noah did when he was warned of such a disaster, so did Utnapishtim. Because they were the only mortals to survive, the gods gave him and his wife everlasting life to live at the mouths of the rivers. When Gilgamesh finally reached Utnapishtim he also gave him a chance at immortality. â€Å"As for you Gilgamesh who will assemble the gods for your sake, so that you may find that life for which you are searching? [†¦] only prevail against sleep for six days and seven nights† (38). But his attempt failed. Just as Siduri, the woman of the vine had for told Gilgamesh that heâ€Å"[would] never find that life for which [he was] looking† (Lawall 32) for. Before Gilgamesh returns to Uruk Utnapishtim tells him of a plant that will restore his youth. Despite its hard catch, he obtains it to give to the old men in his kingdom. But while bathing, a serpent snatches the plant and immediately his skin sheds to a new form. Most commonly in religious text serpents symbolize evil but here the gift of immortality is taken by the serpent because this destiny is forbidden for Gilgamesh. Although he did not achieve his most desired attribute Gilgamesh acquired many other things. From his journey of killing Humbaba and the Bull of Heaven to the death of his dearest friend Enkidu he most definitely gained more wisdom, ultimately understanding the people which in turn gained their trust and the glory. His failed attempt at his most endearing and significant journey to find immortality led Gilgamesh to find the meaningfulness of being human. Gilgamesh finally understood his true destiny. â€Å"You were given the kingship, such was your destiny, everlasting life was not your destiny†.

Report on takotsubo cardiomyopathy

Report on takotsubo cardiomyopathy Abstract This is a report on Takotsubo cardiomyopathy. It includes details of the left ventricle, proposed mechanisms of the disease, reasons as to why certain regions are affected and some arent, the exact problem in detail, symptoms and clinical features including tests and ECG readings, treatment options used and prognosis, incidence and recurrence, some case reports to show the condition in its clinical setting and a conclusion summing up the important points and what direction needs to be taken with regards to the disease. Introduction What do I mean by a broken heart? A broken heart can mean many things, both physiologically and philosophically. Physiologically a broken heart can be a myocardial infarction, arrhythmia, angina, the list is endless. However, philosophically speaking a broken heart is generally perceived as the loss of a loved one or a relationship breakup but in this context can also mean other things which would also cause severe emotional stress such as legal issues, sudden poor financial situation, intense arguing, finding out you have a chronic terminal illness or a loved one does, surgery and car accidents and even the stoppage of use of addictive drugs. We know profound stress can cause certain cardiovascular issues such as high blood pressure, high cholesterol and coronary heart disease. A relatively recent cardiomyopathy has been discovered, and is called broken heart syndrome. This is because it is highly associated with having a profound amount of emotional stress. Heres some anatomy of the left ventricle and myocardium muscle. The left ventricle will be concentrated on as that is the general area this cardiomyopathy occurs. The left ventricular free wall is thickest at the base and thinnest at the apex (usually around 1-2mm). The left ventricular free wall in general is 3 times thicker than the right ventricular free wall. The role of noradrenaline Noradrenaline is a hormone and a neurotransmitter produced in the human body. It is released upon excitement, threat etc and directly increases the heart rate. It is released in the fight or flight response. So what is broken heart syndrome? Broken heart syndrome was first recorded by Dote et al in 1991. They discovered that this form of cardiomyopathy involved the left ventricle and particularly the apex. They found that instead of contracting normally to pump blood around the body, the ventricle ballooned and expanded. This is due to akinesia of the distal anterior wall and apical wall and hypercontraction of the basal wall. Obviously, this would have a severe effect on the blood flow to vital organs so could be quite problematic. It was named Takotsubo cardiomyopathy because the appearance of the left ventricle in an angiogram resembles an octopus pot, which translates as Takotsubo in Japanese. It is also referred to as apical ballooning syndrome, due to the ballooning of the apex. A shows what happens in Takotsubo cardiomyopathy in contraction, as can be seen the volume of the ventricle increases. B shows what a normal contraction should look like. What are the physiological mechanisms behind Takotsubo cardiomyopathy? There have been a few proposed theories, but no one is quite sure. Multivessel coronary vasospasm One theory is that many of the coronary arteries spasm and constrict at the same time so blood flow is greatly reduced to the myocardium muscle and other areas of the heart. However in some studies a vasospasm has been induce by acetylcholine and it has not been conclusive. Also the duration of the abnormal wall motion is longer than it should be. Release of catecholamines In almost all cases of Takotsubo cardiomyopathy, increased levels of catecholamines (adrenaline, noradrenaline, dopamine) have been found in the body. There are many things which can induce a release of catecholamines and emotional excitement or stress are some of them. The catecholamines would be released to the heart to make it beat harder and faster. This is the most widely accepted mechanism for Takotsubo but as mentioned earlier, there is no clear answer. Microvascular spasm It has been found that there is impaired microcirculation in this syndrome, but again there are many challenges to this theory. The â€Å"slow-flow† phenomenon is not observed. Impaired microcirculation may be the result of the primary myocardial injury not necessarily the cause of it. So why is the apical wall of the left ventricle and the mid-ventricle the place that is most affected by a surge of these catecholamines? Well, there are a few anatomical and physiological causes for this. There is a markedly higher concentration of adrenergic receptors in the apex of the left ventricle than other parts of the heart and it is these receptors that noradrenaline and adrenaline will bind to. Also due to increased responsiveness of the apical myocardium to stimulation of these receptors. The apical wall is especially vulnerable structurally as when the rest of the heart has a three layered myocardial composition, the apex does not and is therefore a lot thinner. The area of the apex tends to lose its elasticity a lot more easily after many extreme expansions and does not correctly go back to its original state. The apex is a lot more likely to become ischemic as the blood flow is not large in that area so at any time when blood flow is reduced the apex loses out quickly. The Electro Cardio Gram of a person with Takotsubo cardiomyopathy usually shows ST elevation in the acute stage, T wave inversions and a prolonged QT interval in the sub acute stage and the inverted T wave can persist for weeks in the recovery stage. Clinical presentation The clinical presentation and diagnostic tools are very similar to that of acute coronary syndrome and acute myocardial ischemia. A diagnosis of Takotsubo cardiomyopathy should not be made until ACS, coronary artery disease, acute myocardial infarction, myocarditis, pericarditis etc have been ruled out. Along with the ECG there are other symptoms which might lead to a diagnosis. Among these are chest pain and shortness of breath. Temporary loss of consciousness and shock have been reported. A slight elevation of cardiac damage bio markers troponin and creatine kinase can be detected. Surprisingly, it generally occurs in patients without significant blockage of coronary arteries or any acute plaque rupture. Treatments Long term therapy should include: Beta blockers, which work by blocking the transmission of certain nervous impulses to the heart and reduces the heart rate and force of the beat. Angiotensin converting enzyme (ACE) inhibitors which stop the conversion of angiotensin 1 to angiotensin 2, which reduces arteriole resistance and increases the venous capacity. Diuretics get rid if the water built up in lungs from heart failure. Aspirin is used to reduce the risk of another heart attack and prevent more cardiac muscle death. Calcium channel blockers are generally used to lower blood pressure. The treatment for this disease is generally to try and take the stress away that caused it in the first place and is of a supportive nature. Most people suffering from broken heart syndrome recover within about 2 weeks to 2 months. Incidence Various different studies have shown that Takotsubo cardiomyopathy is a generally a female condition as between 70% and 100% of all cases are in women, most of whom are post menopausal. The reason for this is unclear, however some explanations have been proposed. Sex hormones may definitely influence the sympathetic neurohormonal axis and coronary vasoreactivity. Females may also be more susceptible to myocardial stunning that is mediated by the sympathetic nervous system. Endothelial function is altered due to changes in oestrogen levels and this could be another reason for the much more common occurrence in post menopausal women. A Danish study suggested that 234 out of 100,000 people get acute coronary syndrome and an American study reported that 1.7% to 2.2% of patients thought to have acute coronary syndrome actually have Takotsubo cardiomyopathy. So as can be seen it is a very rare illness. Around 99% of patients in hospital with Takotsubo survive the disease and fully recover. Some reports suggest that up to 10% of patients who recover will get it again. This makes it difficult from a treatment point of view as to how long to treat for. Some case reports Case 1 67 year old woman presenting with chest pain that has lasted a day has ST elevations on ECG. Chest pain is substernal and is linked with dyspnoea. Pain radiates to left arm. When resting pain and dyspnoea goes after an hour but comes back throughout the day. ECG is concerning. She is sent to the emergency department from a clinic. Her blood pressure is 140/86 mmHg, pulse is 86 beats per minute, breathing is 14 breaths per minute, O2 saturation is 100%, she is cannulised and on 2 litres per minute nasally. Her temperature is 37.1 °C. She smokes 20 packs of cigarettes a year. She is asked about a history of heart problems in her family and she begins to cry and describes her sisters death from a heart attack just 2 days before. ECG shows small Q waves, T wave inversions, ST elevation and poor R wave progression. All other tests are normal, a left ventriculogram reveals akinesia of parts of the apex. 7 days later she has normal left ventricular function and apex wall motion is normal, though the base appears to be contracting harder than apex. Case 2 86 year old woman is in emergency department presenting with chest pain that has lasted 10 hours. It is substernal and does not radiate. Her blood pressure is 185/88 mmHg, pulse is 71 beats per minute, breathing rate is 20 breaths per minute O2 saturation is 98% and she is breathing normal air. Her temperature is 35.7 °C. Medical history is hypertension, gout a hysterectomy and hypothyroidism. She has a family history of coronary disease. ECG shows ST elevation and T wave inversion. All other tests are normal. The left ventriculogram reveals akinesia of the apex and mid anterior wall. The base has normal function. Mid septum shows hypertrophy and apex shows hypotrophy. Left ventricular function is at just 34% ejection fraction. It is found out that her son was killed accidentally just 2 weeks prior to onset of symptoms. Conclusion Yes, by all means it is possible to die of a â€Å"broken heart†. Both cases showed that a profound amount of severe emotional stress led to the Takotsubo â€Å"broken heart† syndrome Although it is a very rare disease and almost all patients survive and recover fully, if the condition goes unnoticed or untreated it can prove fatal. As can be seen from the cases, the symptoms are very general with tests not showing many abnormalities. It seems to have no predisposition in people with heart problems. Its symptoms and clinical features are very similar to that of acute coronary syndrome. The most defining tests seem to be the ECG which shows similar results each time, and a left ventriculography, which can show up exactly which parts of the ventricle wall have akinesia. The relatively recent discovery of the disease means that although it is fully recognised by medical institutions it is not fully integrated into clinical practise. Although incidence is rare, this does need to change. More research must be done in the field to fully understand the mechanism behind the illness, as all the proposed mechanisms are unproved and conflicting. By finding the correct mechanism the treatment options can also be broadened to suit more specifically the cause and not just management. References Apical ballooning syndrome or takotsubo cardiomyopathy: a systematic review Gianni M, Dentali F, Grandi AM, Sumner G, Hiralal R, Lonn E. European Heart Journal 2006. Takotsubo Cardiomyopathy, or Broken-Heart Syndrome Virani SS, Khan AN, Mendoza CE, Ferreira AC, de Marchena E. Texas Heart Institute Journal 2007 v.34 Recognition of the Apical Ballooning Syndrome in the United States G. William Dec, MD Circulation 2005 American Heart Association Stress, emotion and the heart: tako-tsubo cardiomyopathy Iqbal MB, Moon JC, Guttmann OP, Shanahan P, Goadsby PJ, Holdright DR Postgrad Med J 2006;82:e29 www.takotsubo.com www.wrongdiagnosis.com Hursts The Heart A case of Takotsubo cardiomyopathy mimicking ACS Metzl et al 2006 Nat Clin Pract Cardiovasc Med Apical and Midventricular Transient Left Ventricular Dysfunction Syndrome (Tako-Tsubo Cardiomyopathy): Frequency, Mechanisms and Prognosis Kurowski et al 2007 CHEST Systematic Review: Transient Left Ventricular Apical Ballooning: A Syndrome That Mimics ST-Segment Elevation Myocardial Infarction Bybee et al December 2004 Annals Takotsubo cardiomyopathy a case series and review of the literature West j emergency medicine Acute coronary syndrome: incidence and prognosis, Nielsen KM, Danish Medical Bulletin No. 1. February 2006. Vol. 53 Page 95

Earnest Hemingways Farewell To Arms English Literature Essay

Earnest Hemingways Farewell To Arms English Literature Essay Thesis: Farewells to arms by Earnest Hemingway concentrates on negative impacts of war, overall loss and how it affects people by making them lose the capacity for moral judgment and rational thought. I. Introduction II. Brief synopsis of A Farewell to Arms III. Factors that motivated Ernest Hemingway to write the novel IV. Symbolism in the novel The rain Catherines hair V. The theme of realism The harsh reality of war Love and Pain Escape from reality VI. Negative impact of the war V. Conclusion A Farewell to Arms A Farewell to Arms is an autobiographical novel written between 1899 and1961 by Ernest Hemingway and first published in 1929.The novel was written through a view point of Lieutenant Frederic Henry, an American who serves as an ambulance driver in the Italian army during the First Worlds War. The novel is about a catastrophic romance between Catherine Barkley, a British nurse and Frederick Henry, an American soldier. A Farewell to Arms by Ernest Hemingway concentrates on negative impacts of war, overall loss and how it affects people by making them lose the capacity for moral judgment and rational thought. Brief synopsis Henry, while serving in the front line of the Italian forces is wounded on the knee by a mortar shell and is admitted to a hospital in Milan. While in the hospital, he meets Catherine whom he falls in love with. The relationship blossoms in summer as they spent time together in Milan. After three months of staying together, Catherine gets pregnant. Henry returns to his unit but after a short period, he engages in the battle of Caporetto where Austro-German forces overpowered the Italian forces and forced them to retreat. While escaping from the enemys onslaught, their car is stuck in the mud and when two sergeants engineers picked on the way refuse to take an order of assisting in getting the car out of mud, Henry kills one of them. On realizing that they will be killed, Henry and other drivers seek refuge in a farm house and resurface on the next day. Henry is seized by the battle police and after hearing that a Lt. Colonel had been executed; Henry sets himself free from the grip of the battle police and dive into a river thus escaping from a possible execution. Henry and Catherine reunite and using a boat, they flee to Switzerland. They live a quiet life in a mountainous region in Switzerland and after a while, Catherine goes into labor. After a painful and long labor, Catherine gives birth to a stillborn son, gets a Hemorrhage and soon passes on leaving Henry who gets back to the hotel in the rain (Bakers 56). Factors that motivated Ernest Hemingway to write the Novel In 1918, during the First World War, Hemingway joined the Italian Red cross as an ambulance driver, where the Italian forces allied to French, British and Americans were fighting against Germany and Austrian Hungary. While serving in the Red Cross during the war, there are a number of experiences that prompted him to write the novel. The first experience occurred in July 8, 1918 when he together with three soldiers was hit by a trench mortar shell while crouching beyond the front line. Although Hemingway overstated the story over the years, it is clear that he was transferred to Milan where he falls in love with Agnes von Kurowsky, a Red Cross nurse. It is believed that the relationship between Henry and Catherine in the novel echoes Hemingways relationship with the Red Cross nurse. When Hemingway was working as a freelance journalist in Turkey and Greece, he witnessed the retreat of Greece army and its civilian which provided him a major foundation in writing his story .The story on retreat of the Italian troops was based on his experience on the retreat of Greece army and its civilians. The work by some authors has had a major influence on Hemingway Novel. In 1921 when he married his first of the four wives, he settled in Paris where he made important connections with American writers such as Ezra Pound and Gertrude Stein. In his collection of stories, In Our Time, he introduced Nick Adams; one of his favorite authors whose difficult road from Youth into maturity he had recorded influenced him into writing his novels. Hemingway uses two major symbols to drive his point home by stating that war shows the dark side of humanity and causes more harm than good. Symbolism in the Novel The novel uses symbolic language to connect to readers emotion by showing how war can affect peoples mode of living and thinking which results in them looking for an escapade that in the long run might have negative consequences. These symbols wrap up the major themes in the novel and are used by the writer in a big way. The widely used symbols are rain and Catherines hair. The rain In the context of the novel, rain symbolizes the foreseeable collapse of a happy life. While Catherine and Henry were sleeping on Bed listening to the storm outside, Catherine introduces the meaning of the rain. As the rain dropped on the roof, Catherine admits the fact that rain frightens her and goes further to state that it has a tendency of destroying things for lovers. In real life situation, meteorological phenomena do not have such power but symbolically, Catherine fears is shown to be prophetic where after a short while, doom befalls the lovers. After the death of Catherine, Henry leaves the Hospital and walks home in the rain. In this case, the falling rain verifies Catherines anxiety and confirms one of the argument of the novel that great love just like other things in the world however good or bad they may be do not last forever (Mellow 103). Catherines hair Catherines hair is an important symbol in the novel. In the early stages of their relationship, as Catherine and Henry lie in bed, Catherine takes down her hair and lets it flow over Henrys head. The fall of Catherines hair reminds Henry of being behind a water fall or enclosed in a tent. The picture exhibited by the hair stand as a symbol of the isolation of the couples from the world. With a fierce war around them, they successful secure a wonderful seclusion which they believe is protected by something that is as delicate as hair. Later, when they are completely isolated from devastation of war and living in peace in Switzerland, they learn a cruel lesson that affection in the face of harsh reality is as short-lived and delicate as hair (Meyers 87) The impact of symbolism in defining the theme of Realism Symbols have been used well to define major themes in the novel and have been echoed in the theme of realism that encompass the harsh reality of war, love and pain, and escape from reality. The rain shows the reality that befalls Henry where he uses love as a guise in running away from war but ends up in tragedy. The war caused him to engage in a wrong relationship that ultimately ended in death of Catherine and the baby. The reality within the symbol of the rain is that anything however genuine it is has a short lifespan and this is well exhibited in the love relationship he engages with Catherine that takes a short span. The delicate nature of the love affair is symbolized by Catherines hair. The symbols bring out the theme of realism in a number of ways. The harsh reality of war The title of the novel is depicted in line of war which Frederic Henry struggles to set himself free from and leave it behind. Few characters such as Gino and Ettore Moretti support the war but majority of them are hesitant about the war, doubtful of the glory it allegedly brings and resentful of the havoc it brings about. The novel provides a clear description of the violent chaos and senseless brutality brought about by the conflict. As the values and integrity of men in the society begin to disintegrate, the negative effect is felt in the soldiers minds, nerves and their capacity for moral judgment and rational thought. For instance, Henry shoots an Engineer for refusing to help him free the car that had stuck in the mud, a violent outburst that contradict his coolly detached character. The murder of the engineer seemed to be justified because it is an expected result of violence and disorder of war (Waldhorn 76). Love and Pain The theme of realism is depicted well in the relationship between love and pain. Against the background of the ravages of war, Hemingway offers a mournful, deep mediation on the nature of love. Catherine initiates a game meant to seduce Henry while still mourning her dead fiancà © with an aim of distancing herself from the pain of her lost love. Love can bring about misery and can as well be used as a cure for the misery. Henry intends to move far away from war as possible and so together with his love, they find temporary solace from things that affect them. Henry understands how critical his love for Catherine is, offsets any concern for abstract ideals such as fame in order to flee the war and look for her. This is a clear indication that love can go as far as distracting a person from everyday life. The tragedy faced by the couple show that love, however genuine it may be is always temporary as other things of the world as depicted in the symbol of the rain while at the same tim e it is as delicate as Catherines hair (Oliver, 68). Escape from reality Escape from reality expounds on the theme of realism in a number of ways. Henrys involvement with Catherine is aimed at escaping the insanity of war. Actually the extreme circumstance of the war brought the two together thus creating an environment that allowed them to fall in love. The love affair provides Henry an emotionally safe landing where he can evade the reality of the war. Under normal circumstances, the relationship would not have occurred but due to the conditions that surrounded both Catherine and Henry, the relationship was initiated with ease. In order to escape the reality of war by getting into a love relationship with Catherine, Henry had misunderstood his actions. He had alienated himself from the environment of war which he believed had no place in his life but when Aymo is killed by his own army, he discovers that he is not really separated at all from the events and gets into a reality that he is an integral part of the war and has no chance of avoiding it. At t his instance, he gets scared and so in order to escape immediately, he separates himself through love. When Catherine is about to deliver her first child, Henry becomes nervous. Although the baby is the product of their love, he becomes an important tool in connecting Henry to the reality of his current situation even though the insanity of war is over. The symbol of the rain as prophesized by Catherines fear of the rain is well explained where neither Catherine nor Henry handles the situation at hand. Catherine shows her inability to cope with the situation physically through her death and the death of the child. Fredrick exhibits his inability to cope with the circumstances through his peculiar behavior such as getting frightened of numbers over two (Bloom 88). Symbolism as used in explaining the Negative impact of the war Basing on the rain as a symbol, the ultimate decision of Henry abandoning the war and settling for love ends tragically which clearly signify that war has numerous negative effects. War forces people to engage in things that might seem good at the start but end in a bad note. Through the symbol of rain, the negative effect of war is well depicted where Henry engages in acts of escapism to evade insanity caused by the war. His escape from the negative reality of war ultimately leaves him a dejected man. War is a major theme in the novel and defines many evils that result from its madness. Generally, war has defined human beings for many years and shows how deeply people hate each other. The novel has little combat but exhibits numerous effects of war. For instance the town, Gorizia, functions normally although there are people dying around it. More people die from diseases than in combat which is one of the effects of war. The act of war within the novel is involved in everything and this can be proved by the act of Henry and others making fun of the priest. Actually, war is always in the background. The confusion of war causes some members of the forces to engage in unethical acts in the name of duty. For instance Rinaldi and Fred chase their women and carry on with their duties. The action of chasing the women indicates that war moulds people who have no feelings and can thus do anything to win it. When the business of war commences, the men express their feeling about it where the drivers state that it is a conflict in terms of class struggle and so they were not willing to fight it at all. Shelling and shooting in the war results in injuries and death. Henrys legs are torn apart while one of his men is killed by an explosion which rocks them. War results in people losing their moral judgment and rational thought and thus engages in horrendous acts. For instance, Fred learns a shocking fact that the wounded soldiers must be left behind the hills as it is diff icult to defend the mountains against attack by the Germans and so they retreat abandoning them instead of offering assistance to them. In this case, war promotes selfishness and kills the spirit of assistance as specified by wounded people being left in the battle field. Negative impact of the war gets intense as the retreat continues. Henry shoots and kills one of the engineers after they refused to take his orders and injures another who in the long run is killed by Bonello. It is apparent that the drivers do not want to be engaged in the war but they are forced to and develop heartlessness which in turn has negative effects on their conscience. Retreat by Italian forces brought about confusion where Italian officers panicked, started interrogating and executing anyone who was not Italian. This obviously shows that war causes people to lose their sense of humanity and allows impunity to sets in. The emotional effect of the war causes people to make wrong decisions and undertake w rong actions that under normal circumstances would not have happened. As a result of the war and quest to escape from it, Henry engages in a love relationship with Catherine. Although he managed to run away from the effects of the war, the end result of this love is tragic where both Catherine and the child die leaving Henry a dejected man. Despite the fact that the novel talks about the effects of the war, it fails to condemn it harshly but states that war is an inevitable outcome of senseless and cruel world. Hemingway puts forward his opinion by stating that war is nothing more than murderous and dark extension of a world that fails to protect, acknowledge and preserve true love (Hemingway 12). Conclusion A Farewell to Arms written by Ernest Hemingway describes how war affects the moral judgment and rational thought of people. People make wrong decisions and end up in tragedies as symbolized by the rain in Henrys situation. For instance, Henry engages in a relationship that ends in the death of Catherine and their baby. War affects the economic, social and political aspect of any society as it is an extension of the world that fails to acknowledge, protect and preserve true love.