Rena’s Concept of Nation Building Based on Chavez and Morales

Ernst Renan’s concept of nation is about a proposal that urges people to come together in order to have consciousness about the process of building a nation and to forget about the differences in geography, language, race, and religion. He insists on telling that a nation is composed of people’s collaboration and agreements to stay together and be governed by mutual approval because they shared a common past. Based on this concept, we can say that Hugo Chavez and Evo Morales were trying to build a nation by using history to unify the nation and to challenge the notion of geography and in the case of Morales the language and race. Nikolas Kozloff’s Hugo Chavez: Oil, Politics, and the Challenge to the U.S express the concept of nation in†¦show more content†¦Similar to Chavez, Evo Morales contributed to the concept of geography as part of making a nation because Bolivia is divided into two races groups: European and Indigenous. It was difficult for Evo to be able to unify Bolivia for being an Indigenous person. He can be seemed as one of the men that Renan mentioned who are â€Å"healthy in mind and warm of heart† because he was creating a kind of moral conscience based on the coca leaf which he defended to be a form of food supply for the poor. As well, he said that the growing of coca was a job for the peasant community (based on the film Cocalero). In addition, we can see that the contact with the people by playing soccer games with the local miners demonstrate the moral consciousness that he wanted to implement. The fact that Evo spoke demonstrated that the language as Renan said need to be forget, even though, there was a great percent of people who spoke Quechua. He wanted to reach everybody by speaking the primary language. Hugo Chavez and Evo Morales had similar and different contributions about Rena’s concept of nation building. Chavez supported the ideas that geography was important to unify and to have progress in the nation. While, Morales was challenging this characteristic because Bolivia is a perfect example of how difficult is to govern when a nation is divided. Both Presidents were fighting for agrarian reform and this made the poor to enforce the agenda of each president. They tried to reach everyone and to

The Loons Free Essays

string(178) " a Metis through the social rejection which characterizes Manawaka’s view of her family:   Ã¢â‚¬ËœI bet you know a lot about the woods and all that, eh\? ’ I began respectfully\." Journal of the Short Story in English 48   (Spring 2007) Varia †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Jennifer Murray Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Electronic reference Jennifer Murray,  «Ã‚  Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons†Ã‚  Ã‚ », Journal of the Short Story in English [Online], 48  |  Spring 2007, Online since 01 juin 2009, Connection on 01 avril 2013. URL  : http:// jsse. revues. We will write a custom essay sample on The Loons or any similar topic only for you Order Now org/index858. html Publisher: Presses universitaires d’Angers http://jsse. revues. org http://www. revues. org Document available online on: http://jsse. revues. org/index858. html Document automatically generated on 01 avril 2013. The page numbering does not match that of the print edition.  © All rights reserved Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 2 Jennifer Murray Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† : p. 71-80 1 2 3 4 5 â€Å"The Loons† belongs to Margaret Laurence’s story-sequence A Bird in the House which is built around the character Vanessa MacLeod and her growing-up years in the fictional town of Manawaka, Manitoba. Following on from the collection’s title story which has the death of Vanessa’s father as its central event, â€Å"The Loons† is set in a time prior to the father’s death and is the first of three stories which deal with Vanessa’s progressive opening up to the world around her and her increasing awareness of the suffering, poverty and forms of oppression outside of her family circle (Stovel 92). More specifically, â€Å"The Loons† gives u s Vanessa’s perception of a young girl called Piquette Tonnerre who is of Metis descent and who accumulates the social disadvantages of poverty, illness, ethnic discrimination and being female. The story has been taken to task for the questionable values attached to its use of Piquette as the stereotype of the doomed minority figure, most notably by Tracy Ware who asks: â€Å"To what extent [does this short story] confirm a debased master narrative that regards Natives as victims of a triumphant white civilization? † (71). At the same time, Ware recognizes the â€Å"enduring sense of [the] aesthetic merit† (71) of this story which so clearly has its place within the canon of Canadian literature. Evaluating the text against its depiction of the Metis can only lead to the negative conclusions that Ware arrives at, namely, that Laurence’s â€Å"The Loons† falls ideologically short of the expectations of today’s politically-conscious reader. What this reading of â€Å"The Loons† does not take into account is that the â€Å"aesthetic merit† of the story is situated elsewhere—not in the portrait or role of Piquette as such, but in the story’s treatment of loss and in the central role of the father in the symbolics of this particular knot of meaning. In the context of the full story-sequence, loss and the father would seem more naturally associated in â€Å"A Bird in the House,† where the death of the father is the central event. In â€Å"The Loons,† the death of the father is recalled and reactivated as an informing event related to other moments in Vanessa’s life and to her relationship to others, Piquette bearing the weight of this role as ‘other’. On one level—that of Vanessa’s childhood perception of Piquette2—the story is about incomprehension, misconstruction, defensiveness and the impossibility of communication between the two girls. But the entire history of this failed relationship is revisited through the narrating voice of the adult Vanessa; in the telling of the story, she reshapes past events through the experience of loss provoked by her father’s death and invests them with symbolic value. Like the dreamer and the dream, Vanessa’s story is more about Vanessa than about those around her; it is her attempt to fit her own sense of loss into a world which is, more than she knows, beyond her. The father’s role in giving Vanessa access to symbolic values is central to the story; indeed, the first ‘event’ in the story is the father’s announcement of his concern (as a doctor) for the health of the young Piquette, who is in his care. After having prepared the ground briefly, he asks his wife: â€Å"Beth, I was thinking—what about taking her up to Diamond Lake with us this summer? A couple of months rest would give that bone a much better chance† (110). This act of social generosity, which is to involve his whole family, introduces the reader to the father’s values; it also inaugurates the continuing association in the text between the father and Piquette. The father is a reference point for Piquette; she invokes him to justify her refusal to accompany Vanessa on a short walk: â€Å"Your dad said I ain’t supposed to do no more walking than I got to† (113), and in later years, Piquette tells Vanessa, â€Å"Your dad was the only person in Manawaka that ever done anything good to me† (116). This positive assessment of the father is Journal of the Short Story in English, 48 | Spring 2007 Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 3 6 the only shared ground between the girls. In response to the comment above, Vanessa â€Å"nodded speechlessly [†¦ ] certain that [Piquette] was speaking the truth† (116). In the name of her love for her father, Vanessa will make several attempts at approaching Piquette: these attempts are regularly met with rejection, leading to a moment of hurt for Vanessa: ‘Want to come and play? ’ Piquette looked at me with a sudden flash of scorn. ‘I ain’t a kid,’ she said. Wounded, I stamped angrily away [†¦]. 112) 7 8 This pattern recurs twice on the following page, with Piquette’s â€Å"scorn† taking on other forms —â€Å"Her voice was distant† (113); â€Å"her large dark unsmiling eyes† (113)—and her refusals becoming more verbally aggressive: â€Å"You nuts or somethin’? † (113); â€Å"Who gives a g ood goddamn? † (114). The impossibility of sharing between the girls is seen both from the perspective of the child Vanessa, who is mystified, â€Å"wondering what I could have said wrong† (113), and from the more experienced perspective offered by the narrated construction of events. This double vision allows the reader to see the misperceptions and involuntary insensitivity on which Vanessa’s attempts at communication are based. Where Vanessa fantasizes Piquette into â€Å"a real Indian† (112) and projects onto her the knowledge of the ‘secrets’ of nature, Piquette lives her identity as a Metis through the social rejection which characterizes Manawaka’s view of her family:   Ã¢â‚¬ËœI bet you know a lot about the woods and all that, eh? ’ I began respectfully. You read "The Loons" in category "Papers" †¦] ‘I don’t know what in hell you’re talkin’ about,’ she replied. [†¦] If you mean where my old man, and me, and all them live, you better shut up, by Jesus, you hear? ’ (113) 9 While the child cannot understand the defensiveness of Piquette, as readers, our knowledge of Piquette’s social conditions, outlined in the opening paragraphs of the story, leads us to a pos ition of empathy with the offended girl. Similar effects are produced by Vanessa’s enthusiasm about her summer cottage, —â€Å"‘I love it,’ I said. We come here every summer,’† (113)—expressed in the face of Piquette’s poverty, which habitually excludes her from the world of lakeside summer homes. Just as much as Piquette’s social disadvantages, Vanessa’s self-absorbed immersion in the comforts of middle-class Manawaka is the source of the girls’ mutual wariness. As the narrator of the story, the older version of Vanessa puts forward expressions of regret at the failure of the relationship between herself as a child, and Piquette. This regret, however, is not distinct from childhood, but a part of it, recounted in the past tense: â€Å"Piquette and I remained ill at ease with one another. I felt I had somehow failed my father, but I did not know what was the matter, nor why she would not or could not respond† (115). The linguistic markers â€Å"somehow† and â€Å"did not know† suggest that the emotional experience of failure remained confusing for the child, but the ability to formulate this metadiscourse indicates that things have become clearer to the adult Vanessa. This acquired comprehension allows the narrator to develop the expression of failure once again, two pages further on, including, this time, more details about the possible expectations of the father: Yet I felt no real warmth towards her—I only felt that I ought to, because of that distant summer and because my father had hoped she would be company for me, or perhaps that I would be for her, but it had not happened that way. (117) 10 Through the voice of the more experienced Vanessa, the regret of the past is understood to have been intimately related to a sense of having failed not herself, nor Piquette, but her father. The focus is on the father’s symbolic role in attributing potential value to the possibility of their friendship. Along with the father’s generosity towards Piquette, a series of other values related to the father are offered in the short story. The father’s name, MacLeod, is also the name which designates the family cottage (111), which itself is associated with nature and authenticity: it Journal of the Short Story in English, 48 | Spring 2007 Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 4 11 s the father who comes and sits by the lake with Vanessa to listen to the loons (114); the lake, the nighttime, the loons, all come to signify intuitive communication (â€Å"we waited, without speaking†), mystery and transcendence (â€Å"They rose like phantom birds†), a reproach to human civilization (â€Å"Plaintive, and yet with a quality of chilling mockery, those voices belonged to a world separated by aeons from our neat world of summer cottages and the lighted lamps of home†) (114). The idea that the loons belong to a separate world is reinforced by the father’s comment that the loons had been there â€Å"before any person ever set foot here† (114). The loons are both a form of access to the continuum of natural time as opposed to civilized time, and a reminder that man cannot bridge that gap; there is therefore a form of retrospective loss attached to the image of the loons: the imagined loss of what came before and is now inaccessible. However, the birds also prefigure future loss—the enduring presence of the loons is endangered, as Vanessa tells Piquette: My dad says we should listen and try to remember how they sound, because in a few years when more cottages are built at Diamond Lake and more people come in, the loons will go away. 114) 12 We can also see the metonymic association between this loss and the approaching end of the permanence of Vanessa’s world; her father, associated with the loons in Vanessa’s childhood, is soon to disappear: â€Å"Neither of us suspected that this would be the last time we would ever sit here together on the shore, listening† (115). The symbolic charge of the los s of the loons is therefore great for Vanessa, but meaningless to young Piquette, who, on learning of the precarious situation of the birds, says: â€Å"Who gives a good goddamn? (114). For Piquette, they are literally, â€Å"a bunch of squawkin’ birds† (115). Meaning is to do with symbolic construction and â€Å"The Loons†, for all of its focus on Piquette, is about Vanessa’s construction of personal meaning. Coral Ann Howells notes that Vanessa’s choosing to write about Piquette is a way of â€Å"silently displacing her own feelings into [Piquette’s] story† (41). This process is clearest in the paragraph which announces the father’s death: That winter my father died of pneumonia, after less than a week’s illness. For some time I saw nothing around me, being completely immersed in my own pain and my mother’s. When I looked outward once more, I scarcely noticed that Piquette Tonnerre was no longer at school. (115) 13 14 The words which tell of the loss of the father are almost immediately followed by words which tell of the disappearance of Piquette. This is given in the form of a negation: â€Å"I scarcely noticed†¦,† but what the young Vanessa had â€Å"scarcely noticed,† the narrating Vanessa gives weight to by placing it in verbal proximity to the death of the father, obliquely associating the two events. Through indirection, therefore, Vanessa speaks of her own loss. But the process is not entirely parasitic; in the telling, she also constructs Piquette. Piquette is, in some ways, a difficult character for today’s reader to take on board: like Pique, the daughter of Morag Gunn in the final Manawaka story, â€Å"The Diviners†, she â€Å"suffers from the weight of too much thematic relevance† (Howells 51) since, as I noted earlier, she accumulates an extraordinary number of handicaps, all of which are seen to be indirectly related to her Metis origins. In spite of the older Vanessa’s gentle mocking of her earlier self in her desire to ‘naturalize’ Piquette into a folkloric Indian, the story does imply that part of Piquette’s tragedy is that, like the loons, she belongs to a more ‘authentic’ heritage which has been/is being destroyed. 3 The romanticism which the narrating voice mocks is nonetheless supported by the story’s symbolism, as is the attempt to fix Piquette into a sterile, stereotyped role of ‘representativity,’ something that Piquette’s direct discourse has violently rejected. Yet, we do have access to a more tenacious Piquette; in her silences, rejections, and refusals, she is a character who is fighting for her own survival in a world clearly divided along class lines and this tenacity is seen principally in her rejection of Vanessa’s self-satisfaction. Vanessa’s sense of superiority over Piquette is implicit in the narrator’s comments about the Metis girl’s invisibility to her younger self; at that time, Piquette was but â€Å"a vaguely embarrassing presence† who â€Å"moved somewhere within my scope of vision† (109). Moreover, Piquette can drop out of sight for years without notice: â€Å"I do not remember seeing her at all Journal of the Short Story in English, 48 | Spring 2007 Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 5 until four years later† (115). It would seem to be the total separateness of their social worlds that creates and sustains what might be experienced as a ‘lack of affinity’. Whereas these social differences remain unformulated to the child Vanessa, they are close to the surface for Piquette whose discourse refuses to endorse the smugness of the well-off Vanessa: ‘Do you like this place,’ I asked [†¦] Piquette shrugged. It’s okay. Good as anywhere. ’ ‘I love it,’ I said, ‘We come here every summer. ’ ‘So what? ’ (113) 15 Other details suggest a Piquette who has dreams of her own, but who cannot allow herself to expose them to others: â€Å"When she saw me approaching, her hand squashed flat the sand castle she had been building, and she looked at me sulle nly, without speaking† (113). For Piquette, the child Vanessa is a potential enemy, someone to guard oneself against. Dreams cannot be shared, and cannot even be envisaged within the society of which Vanessa is a part. Indeed, even in her later teenage years, Piquette holds no hope of improvement for herself within the confines of small-town Manawaka: â€Å"Boy, you couldn’t catch me stayin’ here. I don’ give a shit about this place. It stinks† (116). Piquette knows that Manawaka holds nothing for her in the sense that no one there believes in her chances for a better future. When she becomes engaged to be married, she remarks that, â€Å"All the bitches an’ biddies in this town will sure be surprised† (117). The implication that the town gossips have nothing good to say about Piquette is underscored by Vanessa’s own reactions. On seeing Piquette several years after the summer at the cottage, Vanessa is â€Å"repelled† and â€Å"embarrassed† by her, and although she is â€Å"ashamed† at her own attitude, she gives way to an emphatic outpouring of animosity towards the teenage girl:   Ã‚  Ã‚  I could not help despising the self-pity in her voice. I wished she would go away. I did not want to see her. I did not know what to say to her. It seemed that we had nothing to say to one another. (117) 16 The force of this expression suggests a negative identification with Piquette on Vanessa’s part. It is as if Piquette represents the photo negative of Vanessa’s life; the result of poverty, illness, and lack of education made flesh and standing there as a threat to the integrity of Vanessa’s identity as a middle-class, reasonably well-educated girl with a future. There is no indication in the story that Vanessa ever overcomes this violent rejection of Piquette during the Metis girl’s lifetime. This moment of intense emotional confrontation is followed by what may be seen as the story’s signature moment: For the merest instant, then, I saw her. I really did see her, for the first and only time in all the years we had both lived in the same town. Her defiant face, momentarily, became unguarded and unmasked, and in her eyes there was a terrifying hope. (117) 17 These last two words encapsulate the relative positions of the two girls. Where Piquette ‘reveals’ her most guarded treasure—hope, arguably the most positive emotion which exists, Vanessa reproduces the condemning judgement of the town; with the word â€Å"terrifying,† she declares this hope to be without any ground. It is therefore coherent with Vanessa’s view of Piquette’s life that the Metis woman should be left as a single mother, follow in the drunken path of her father, and finally die in a house fire along with her two children. Vanessa’s reaction to this news is, â€Å"I did not say anything. As so often with Piquette, there did not seem to be anything to say† (119). It is not that there is ‘nothing to say’ about Piquette, but rather, that what there is to say would involve a questioning of community values which would also have to be a form of self-questioning. The narrative does not take the direction of a critique of human and social relationships; it deals with the vague sense of guilt expressed by the narrator—â€Å"I wished I could put from my memory the look that I had seen once in Piquette’s eyes† (119)—by sublimating Piquette into the symbol (along with the loons) of something lost. The ground is prepared through the falling action of the story which lists the avalanche of losses which Vanessa experiences after having heard about Piquette’s death: â€Å"The MacLeod cottage had been sold after my father’s Journal of the Short Story in English, 48 | Spring 2007 Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 6 death†; â€Å"The small pier which my father had built was gone†; â€Å"Diamond Lake had been renamed Lake Wapakata†; and finally, â€Å"I realized that the loons were no longer there† (119). These different elements reinstall the triad of the father, the loons and nature as the paradigm of loss and the narrator then brings Piquette into this sphere of symbolism: I remember how Piquette had scorned to come along when my father and I sat there and listened to the lake birds. It seemed to me now that in some unconscious and totally unrecognised way, Piquette might have been the only one, after all, who had heard the crying of the loons. (120) 18 19 â€Å"Piquette,† â€Å"father,† â€Å"lake,† â€Å"birds,† â€Å"loons†: all of these words are given a place in the final paragraph. The narrator too, is present amongst these elements, and her place as the one who reconstructs meaning is affirmed: â€Å"I remember how [†¦]. † But it is affirmed, finally, as a process of questioning: in the phrase, â€Å"It seemed to me now that in some unconscious and totally unrecognised way,† (where it is uncertain as to whether it is the narrator’s unconscious or Piquette’s which is being invoked), the narrator seems to romanticize Piquette’s Metis status into the ‘natural’ world and confer on her the positive charge of nostalgia related to loss. In this statement of restricted awareness, it would seem that the narrator is trying to resolve the problem of her own position in relation to Piquette; the irreconcilable distinction between how she felt towards Piquette and how she felt she should have felt, if only for her father’s sake. The solution to this is to transform Piquette from the living girl—judged by so ciety, including Vanessa and her mother—as â€Å"sullen and gauche and badly dressed,† â€Å"a real slattern,† â€Å"a mess† (118), into a symbol: a young girl, representative of an oppressed minority, with a tragic destiny, doomed to die. In this form, the loss of Piquette can be associated with both the death of the father and the disappearance of the loons; the desire to bring Piquette into this association suggests an unresolved sense of guilt—towards the girl character, on the level of the diegesis, but also towards the Metis people, whose â€Å"long silence† (108) is echoed in the â€Å"quiet all around me† experienced by Vanessa (119) as she becomes aware of the disappearance of the loons. Silenced by death, Piquette’s ‘otherness’ can be neutralized and romanticized into nostalgia. The contradictions which structure â€Å"The Loons† give the story its force. In spite of the control of the adult narrator in the choice and ordering of memory, there is no attempt to beautify the emotions of her childhood self. The limited, often egocentric aspects of her childhood perspective are rendered, so that the reader’s sympathy goes out towards the other girl, Piquette. This construction of perspective may be een as a form of generosity, whereby, in spite of Vanessa’s statement that â€Å"there was nothing to say,† the narrator’s rendering of the past has allowed the reader to achieve an awareness of Piquette’s specificity as a character: she has moved from the general sense of absence which characterizes her in Vanessa’s memory, to a form of visibility in which the reader may see her as the victim of multiple ve ctors of oppression; in this context, her ‘defiance’ and ‘sullenness’ become the marks of a fighting spirit, and her ‘hope,’ the sign of her humanity. Through these effects constructed by the narrating voice, the earlier generosity of the father is ultimately echoed and loss takes on its complex human dimension. Bibliography Howells, Coral Ann. Private and Fictional Words : Canadian Women Novelists of the 1970s and 1980s. London: Methuen, 1987. Laurence, Margaret. A Bird in the House (1970). Chicago : The University of Chicago Press, 1993. Stovel, Bruce. â€Å"Coherence in A Bird in the House,† in New Perspectives on Margaret Laurence : Poetic Narrative, Multiculturalism, and Feminism. Ed. Greta McCormick Coger. Westport: Greenwood Press, 1996. Vauthier, Simone. â€Å"‘A Momentary Stay Against Confusion’ : A Reading of Margaret Laurence’s ‘To Set Our House in Order. ’† The Journal of the Short Story in English vol. 3 (1984): 87-108. Ware, Tracy. â€Å"Race and Conflict in Garner’s ‘One-Two-Three Little Indians’ and Laurence’s ‘The Loons. ’† Studies in Canadian Literature vol. 23:2 (1998) : 71-84. Journal of the Short Story in English, 48 | Spring 2007 Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons† 7 Notes   I am grateful to my colleagues in Besancon who participated in a discussion on â€Å"The Loons. † 2   See Vauthier (96-99) for a detailed analysis of Vanessa’s function as narrator (based on the short story â€Å"To Set Our House in Order,† but equally valid here). 3    Indeed, Tracy Ware argues that the associat ion of Piquette with nature, on the basis of her Metis origins, â€Å"den[ies] Piquette her full humanity, [and it also] makes a tragic outcome inevitable. We will never be able to imagine a future for people whom we regard as separate[d] from us ‘by aeons’† (80).   Margery Fee’s comment, quoted in Ware, that â€Å"Native people [†¦] are so rarely depicted as individuals, because they must bear the burden of the Other—of representing all that the modern person has lost† (Ware 82), seems relevant to the construction of Piquette as a character who comes to bear the symbolic weight of the very idea of loss. 5   Ware declares that this symbol is â€Å"a misrecognition because it ignores the historical struggles of both Natives and Metis† (79). References Electronic reference Jennifer Murray,  «Ã‚  Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons†Ã‚  Ã‚ », Journal of the Short Story in English [Online], 48  |  Spring 2007, Online since 01 juin 2009, Connection on 01 avril 2013. URL  : http://jsse. revues. org/index858. html Bibliographical reference Jennifer Murray,  «Ã‚  Negotiating Loss and Otherness in Margaret Laurence’s â€Å"The Loons†Ã‚  Ã‚ », Journal of the Short Story in English, 48  |  2007, 71-80. Jennifer Murray Jennifer Murray is an associate professor at the University of Franche-Comte. Her research is focused primarily on Canadian literature and on American writers from the South. Ms. Murray’s publications include articles on Margaret Atwood, Carson McCullers, Flannery O’Connor and Tennessee Williams. She is currently working on the short stories of Margaret Laurence and Alice Munro. Copyright  © All rights reserved Abstract Je me propose ici d’etudier l’impact symbolique de la disparition du pere dans â€Å"  The Loons  Ã¢â‚¬ , une nouvelle de Margaret Laurence. Au niveau de l’intrigue, l’histoire est celle d’une amitie impossible entre la narratrice, Vanessa, fille de medecin, et une jeune metisse, Piquette, soignee par le pere de Vanessa. Les differences de niveau social, d’education et d’origine ethnique creent une incomprehension fondamentale entre les deux filles et vouent a l’echec les tentatives de Vanessa de sympathiser avec Piquette. Cet insucces attriste Vanessa  ; elle pense avoir decu son pere qui esperait que le sort de sa jeune patiente serait adouci par le contact avec sa famille. Devant son incapacite a transformer la realite et le remords qu’elle en eprouve, la narratrice transforme son souvenir de Piquette, l’exclue, en symbole. Ce symbole se developpe autour d’un noyau d’elements semantiques associes a l’authenticite, la nature, et la nostalgie du passe  ; des concepts valorises par le pere, et qui, pour la narratrice sont lies au sentiment de perte occasionne par sa mort Journal of the Short Story in English, 48 | Spring 2007 How to cite The Loons, Papers

Standard Operating Procedures

Question: Describe about the Standard Operating Procedures (sop) for Forensic toxicology laboratory (laboratory manual)? Answer: Forensic toxicology is a science that deals with the application of toxicology in the situations that may involve medicological review and as a consequence the results may be subject to scrutiny in a court of law. The standard operating procedures or SOP describes all the routinely used analytical and administrative procedures. It basically serves as a document for the purpose of training. The field of forensics is such that it ay frequently demand deviation from the routine SOPs and may require modifications of the same. For an instance conditions that may involve accommodation of an unusual sample type or multiple, condition or unusual analytes. In toxicology, if any toxin is suspected, a specific analysis should be requested and the laboratories can simply just not check for poisoning. This calls for a complete description of epidemiological and clinical findings that may help in differentiating between infectious diseases and poisoining. The most common samples that are colled ar e the stomach contents, whole blood, kidney, liver, serum or urine. In some cases even the cerebral tiisues may also be collected for cholinesterase analysis. According to SOP, the tissue or fluid samples should be as fresh as possible and must be kept refrigerated. Freezing is essential for some analysis as it helps in preventing degradation of volatile chemicals. In rare circumstances a chemical preservative might also be required. The packaging and handling of the samples should be done very carefully. When there is a possibility of any legal action, the containers for shipment should be either sealed so as to enable detection of any form of tampering or be carried manually to the laboratory and the receipt of the same be recorded. There should be proper documentation of the chain of custody as well. When the suspected source of poison is feed or water, these samples, along with the samples of any feed tags should be sent along with the tissue samples (Merck manuals 2013). All the incoming samples must be registered by the laboratory, Before signing the receipt, the samples are checked for their completeness, suitability and intactness for the testing purpose. If any sample is unlabelled or insufficiently marked, they are not processed and are sent back where appropriate. In any case the applicant must be informed and the details must be properly recorded in the laboratory files. The samples are assigned a laboratory internal code and ar clearly marked (using a barcode sometimes). The regulations of the Data Protection Act should be observed. In case of sample unsuitability or availability of less volume of sample for research or damaged sample, the laboratory immediately informs the applicant (Paul, L. et al. 2009). It is important to identify the sample and the derivates produced by labeling the sample at every stage of analysis. After the completion of labeling process and analysis and the final report, the remains of the sample and the original containers should be kept or stored based on the administrative regulations. The samples other than blood samples can be stored atleast for six months while the blood samples can be stored for 2 years. Body fluids should be refrigerated as soon as received in the lab. If there is no possibility of extracting serum or plasma then a part of the full blood sample should be kept for deep freezing (-15oC) to prevent ageing of the sample matrix and any loss of the analytes. In case of the original blood withdrawal system that consist of the remaining blood, the measure of how much blood has been removed, should be accurately indicated with a mark. Urine samples or their aliquots should be deep frozen and stored after the receipt (Paul, L. et al. 2009). The investigations can be divided into two major types: indicative and confirmatory (evidential) analysis. The former are the immune chemical test procedures that are simply based on the chromatographic techniques. The only drawback of indicative analysis was that the positive results of this test cannot be used as an evidence in court and should be confirmed by a second independent specific confirmatory method. The important point to be noted is that an immune chemical assay cannot be confirmed by second immunoassay. It is important for every laboratory to check if the cut off values of the immune chemical methods are properly calibrated and adequately chosen to differentiate between the positive and the negative results. The samples that are authentic give a positive result in the immune chemical pre testing procedure at the concentrations of the analyte in the limit that is required in the forensic toxicologic studies (Paul, L. et al. 2009). After the processing of the samples is completed, the tedious job of compiling the results is next. According to the SOP guidelines, the forensic toxicology lab requires every procedure to be documented properly in order to maintain a co-ordinated record in relation to every sample or every case that is analysed. The records should contains enough details to allow identification of the factors that affect the uncertainity and also enable the scientists to repeat the whole test procedure, if required. This repetition of the experiement might be necessary in order to reproduce results as close as the original observations. Wherever needed, the results can be preserved in form of photos but photography is not allowed in every case. Sometimes electronic scanning is also a good option (eg. Thin layer chromatography results) (Swiss Confederation 2013). The SOP guidelines consider that digital images and photographs can provide importance evidence in criminal investigation and then prosecut ion. Some laboratories allow only the use of departmentally approved and issued digital cameral for official photography purpose. Right from the number of photographs, clarity of photographs, time of exposure, condition of the camera, time of issuing the camera to the type of photos that can be clicked, the assignment of responsibility of supervising the entire duration of photography coverage, every uideline or rule is mentioned in the Standard Operating Procedure manual. A special officer is allocated the task of managing and maintaining the confidentiality of the images that are clicked or taken and ensure safe transfer of the images into the laboratory database (Division of Criminal Justice 2013). References Division of Criminal Justice, 2013, A standard operating procedure for the use of digital images cameras by the First Responding Officer, viewed on 21st February 2015, www.nj.gov/oag/dcj/njpdresources/pdfs/digital_imaging%20_sop.pdf Merck manuals, 2013, Overview of collection and submission of laboratory samples, viewed on 21st February 2015, https://www.merckmanuals.com/vet/clinical_pathology_and_procedures/collection_and_submission_of_laboratory_samples/overview_of_collection_and_submission_of_laboratory_samples.html#v3297560Paul, L. et al., 2009, Guideline for quality control in forensic toxicological analysis, GTFCh- Scietific Committee Quality Control. Quest diagnostics, 2014, General guidelines, viewed on 21st February 2015, https://www.questdiagnostics.com/home/physicians/testing-services/specialists/hospitals-lab-staff/specimen-handling/general.html Swiss Confederation, 2013, Guidelines for Accreditation of the Swiss Laboratories Performing Forensic Toxicological Analyses, Document No. 315 e.

Inflation Management in Sri Lanka free essay sample

Amarasekara (2008, p. 37) also concluded that in most sub-samples, inflation does not decline following a contractionary policy shock, possibly due to the longer lag effect. Innovations to money growth raise the interest rate, and when inflation does respond, it reacts to monetary innovations faster than GDP growth does. International Monetary Fund (2008) showed that changes in policy interest rates have significant effects on output but a small impact on inflation. Credit does not respond strongly to changes in policy interest rates. 3. Objectives of the Study The Central bank conducts monetary policy to achieve its one of primary objectives of price stability by changing interest rate and money supply. Therefore, the main objective of the study is to identify the relationship between the interest rate and inflation in Sri Lanka. A successful monetary policy strategy requires an understanding of the relationship between operating instruments of monetary policy (i. e. interest rate) and the ultimate goals like the price stability and output. We will write a custom essay sample on Inflation Management in Sri Lanka or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Therefore, the study will help to identify the effectiveness of policy rates as a monetary policy instrument for inflation management. . Model, Methodology and Data Analysis Model and Methodology A regression model will be used to estimate the effect of key variables on inflation. The main concern of the study is the effect of the interest rate on the inflation. However, the model will be incomplete without including the variables below. This study tries to improve past models done by Sri Lankan economists by including additional macroeconomic variables namely; unemployment (UN), budget deficit (BD) and foreign inflation (FI) to remove any omitted variables bias. In this analysis, MMR is used as changes in policy rate are immediately transmitted to MMR. Inflation: According to previous literature, past inflation has an effect on current inflation through expectations. Here the Colombo Consumer Price Index (CCPI) is used. Exchange rate (ER): Changes in in the exchange rate affects the price of exports and imports in the country, and thus has a direct effect on inflation as Sri Lanka is heavily depend on international trade. GDP growth (GDP): The GDP is seasonally adjusted to capture seasonality. Unemployment (UN): According to the Phillips Curve there is an inverse relationship between unemployment and inflation. Foreign Inflation (FI): In 2011, imports accounted for 37. 6% of GDP (CBSL Annual Report 2011) in Sri Lanka, and therefore prices of goods and services of Sri Lanka’s major trading partners can have an influential effect on inflation. Budget Deficit (BD): Most of the past literatures in Sri Lanka have omitted this important variable. However, public finance is an important issue in Sri Lanka and the effect of Monetary Policy cannot be studied without it. Data Collection For this study quarterly data will be obtained for all the variables from the first quarter of 1996 to the last quarter of 2011. The main data sources of the analysis are Annual Reports of CBSL, Monthly Bulletins of CBSL, other publications of CBSL, Annual Reports and Quarterly Reports of the Department of Census and Statistics of Sri Lanka, and the World Bank Report 2011-2012. Analytical Tools The OLS regression model will describe the significance of key variables of the model and the effectiveness of the model in explaining the objective of the study. Apart from the simple OLS regression analysis, various econometric models will be used to obtain outcomes such as unit-root tests, Granger causality tests, impulse response and AR-root tests and Vector auto regression. The Ramsey’s Reset Test will be used for checking functional form mis-specification of the model. The normality of errors and other non-spherical disturbances will be checked using White’s Test (for Heteroskedasticity) and Durbin Watson Test (for serial correlation). The model also will be tested by omitting the interest rate variable and regressing the restricted model using J-Test to determine if the model is very different.

Rob roy essays

Rob roy essays The film Rob Roy tells the story of one the most notorious clans of the Scottish highlands the MacGregors. However the film also illustrates the great differences between the old style highlands and the new English style aristocracy. The film shows how the difference in values relates to the political and economic trends of the early 18th century. Foremost the film illustrates the difference in economic standing between the upper-class aristocrats and the highlanders, which in many ways defines a great deal of their differences. The MacGregors live on a small plot of land and make their living by raising and trading cattle. Though it was possible to earn some money in this manner, it was by no means a venture that would bring great wealth. This is evident in the very primitive accommodations in which they live. Their homes are made of stone and have straw roofs, while the aristocrats have much more modern buildings. The highlanders also dress in much more ragged clothing and are much more rugged in appearance. Aside from a few exceptions the highlanders are dirty and have shabby beards and yellow teeth. This compared to the clean-cut and refined look of the aristocrats demonstrates the very clear differences in both life style and wealth. The appearances of the nobles is distinctly English in their clothing and gener al appearance. All of the aristocrats in the film are dressed similar to their English counterparts and also wear wigs as a sign of superiority. Furthermore the film shows the nobilitys life style is much like that of the English in that they have a court and use similar etiquette in their social settings. Furthermore the several dueling matches hosted for entertainment, in which the nobles place wagers on, are very similar to that of English nobles. The very different portrayals in the film illustrate many differences beyond just appearances as these differences are most clearly seen in this respect...

Figure of Sound in Prose and Poetry

Figure of Sound in Prose and Poetry A figure of speech that relies primarily on the sound of a word or phrase (or the repetition of sounds) to convey a particular effect is known as a figure of sound. Although figures of sound are often found in poetry, they can also be used effectively in prose. Common figures of sound include alliteration, assonance, consonance, onomatopoeia, and rhyme. Examples and Observations: AlliterationA moist young moon hung above the mist of a neighboring meadow.(Vladimir Nabokov, Speak Memory: An Autobiography Revisited, 1966)AssonanceShips at a distance have every mans wish on board. For some they come in with the tide. For others they sail forever on the same horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men.(Zora Neale Hurston, Their Eyes Were Watching God, 1937)ConsonanceThis earth is tough stuff, he said. Break a mans back, break a plow, break an oxs back for that matter.(David Anthony Durham, Gabriels Story. Doubleday, 2001)OnomatopoeiaFlora left Franklin’s side and went to the one-armed bandits spread along one whole side of the room. From where she stood it looked like a forest of arms yanking down levers. There was a continuous clack, clack, clack of levers, then a click, click, click of tumblers coming up. Following this was a metallic poof some times followed by the clatter of silver dollars coming down through the funnel to land with a happy smash in the coin receptacle at the bottom of the machine.(Rod Serling, The Fever. Stories From the Twilight Zone, 2013) RhymeA veritable fusillade of smells, compounded of the pungent odors of deep fat, sharks fin, sandalwood, and open drains, now bombarded our nostrils and we found ourselves in the thriving hamlet of Chinwangtao. Every sort of object imaginable was being offered by street hawkersbasketwork, noodles, poodles, hardware, leeches, breeches, peaches, watermelon seeds, roots, boots, flutes, coats, shoats, stoats, even early vintage phonograph records.(S.J. Perelman, Westward Ha! 1948)Figures of Sound in Poes ProseDuring the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher.(Edgar Allan Poe, The Fall of the House of Usher, 1839)Figures of Sound in Dylan Thomass ProseThere was no need, that holiday morning, for the sluggardly boys to be shouted down to breakfast; out of their jumbled beds they tumbled, and scrambled into their rumpled clothes; quickly at the bathroom basin they catlicked their hands and faces, but never forgot to run the water loud and long as though they washed like colliers; in front of the cracked looking-glass, bordered with cigarette cards, in their treasure-trove bedrooms, they whisked a gap-tooth comb through their surly hair; and with shining cheeks and noses and tidemarked necks, they took the stairs three at a time.But for all their scramble and scamper, clamour on the landing, catlick and toothbrush flick, hair-whisk and stair-jump, their sisters were always there before them. Up with the lady lark, they had prinked and frizzed and hot-ironed; and smug in their blossoming dresses, ribboned for the sun, in gym-shoes white as the blancod snow, neat and silly with doilies and tomatoes they helped in the higgledy kitchen. They were calm; they were virtuous; they had washed their necks; they did not romp, or fidget; and only the smallest sister put out her tongue at the noisy boys.(Dylan Thomas, Holiday Memory, 1946. Rpt. in The Collected Stories. New Directions, 1984) Figures of Sound in John Updikes Prose- Do you remember a fragrance girls acquire in autumn? As you walk beside them after school, they tighten their arms about their books and bend their heads forward to give a more flattering attention to your words, and in the little intimate area thus formed, carved into the clear air by an implicit crescent, there is a complex fragrance woven of tobacco, powder, lipstick, rinsed hair, and that perhaps imaginary and certainly elusive scent that wool, whether in the lapels of a jacket or the nap of a sweater, seems to yield when the cloudless fall sky like the blue bell of a vacuum lifts toward itself the glad exhalations of all things. This fragrance, so faint and flirtatious on those afternoon walks through the dry leaves, would be banked a thousandfold and lie heavy as the perfume of a flower shop on the dark slope of the stadium when, Friday nights, we played football in the city.(John Updike, In Football Season. The New Yorker, November 10, 1 962)- By rhyming, language calls attention to its own mechanical nature and relieves the represented reality of seriousness. In this sense, rhyme and allied irregularities like alliteration and assonance assert a magical control over things and constitute a spell. When children, in speaking, accidentally rhyme, they laugh, and add, Im a poet / And dont know it, as if to avert the consequences of a stumble into the supernatural. . . .Our mode is realism, realistic is synonymous with prosaic, and the prose writers duty is to suppress not only rhyme but any verbal accident that would mar the textual correspondence to the massive, onflowing impersonality that has supplanted the chiming heavens of the saint.(John Updike, Rhyming Max. Assorted Prose. Alfred A. Knopf, 1965) Poetic Functions of Language[English poet] Gerard Manley Hopkins, an outstanding searcher in the science of poetic language, defined verse as speech wholly or partially repeating the same figure of sound. Hopkins subsequent question, but is all verse poetry? can be definitely answered as soon as the poetic function ceases to be arbitrarily confined to the domain of poetry. Mnemonic lines cited by Hopkins (like Thirty days hath September), modern advertising jingles, and versified medieval laws, mentioned by Lotz, or finally Sanskrit scientific treatises in verse which in Indic tradition are strictly distinguished from true poetry (kavya)all these metrical texts make use of the poetic function without, however, assigning to this function the coercing, determining role it carries in poetry.(Roman Jakobson, Language in Literature. Harvard University Press, 1987)Word Play and Sound Play in a Poem by E.E. Cummingsapplaws)fellowsitisnts(a paw s(E.E. Cummings, Poem 26 in 1 X 1, 1944) The False Dichotomy Between Sound and SenseIn plain expository prose, such as this book is written in, says [literary critic G.S. Fraser], both writer and reader are consciously concerned not mainly with rhythm but with sense. This is a false dichotomy. The sounds of a poem connected by rhythm are indeed the living body of thought. Take the sound as poetry and there is no further stage of interpretation into poetry. Just the same is true of periodic prose: the rhythm of the period organizes sound into a unit of sense.My criticism of the logical tradition in grammar is just that stress, pitch, attitude, emotion are not suprasegmental matters added to the basic logic or syntax but other glimpses of a linguistic whole which includes grammar as usually understood. . . . I accept the now unfashionable view of all the old grammarians that prosody is a necessary part of grammar. . . .Figures of thought like understatement or emphasis are no more and no less expressed in sound than anything else.(Ian Robinson, The Establishment of Modern English Prose in the Reformation and the Enlightenment. Cambridge University Press, 1998) Figures of Sound in 16th-Century Prose- Suspicion that an inordinate attraction to figures of sound was likely to tyrannise a writers style, that the claims of the ear threatened to dominate those of the mind, has always dogged analysis of Tudor prose, especially in the case of [John] Lyly. Francis Bacon indicted [Roger] Ascham and his followers for precisely this failing: for men began to hunt more after words than matter; more after the choiceness of the phrase, and the round and clean composition of the sentence, and the sweet falling of the clauses, and the varying and illustration of their works with tropes and figures, than after the weight of the matter, worth of subject, soundness of argument, life of invention, or depth of judgment [The Advancement of Learning].(Russ McDonald, Compar or Parison: Measure for Measure. Renaissance Figures of Speech, ed. by Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Cambridge University Press, 2007)- Shall my good will be the cause of his ill will? Because I was content to be his friend, thought he me meet to be made his fool? I see now that as the fish scolopidus in the flood Araris at the waxing of the moon is as white as the driven snow, and at the waning as black as the burnt coal, so Euphues, which at the first increasing of our familiarity was very zealous, is now at the last cast become most faithless.(John Lyly, Euphues: the Anatomy of Wit, 1578) See also: 10 Titillating Types of Sound Effects in LanguageEuphonyEuphuismExercise in Identifying Sound Effects in Poetry and ProseFigures of SpeechHomoioteleutonHomophonesOronymProsodyReduplicativeRhythmSound Symbolism

Research paper Case Study Example | Topics and Well Written Essays - 1250 words

Research paper - Case Study Example For each of these diseases a physical examination will have to be done to achieve a proper diagnosis of each. A 16-year-old female (Jesse) presented with her mother (Mrs. B.) at the doctor’s office. Jesse states that the following subjective symptoms that she is experiencing included feeling extremely tired and fatigued, lack of appetite. In fact, she appears to have ‘tomato red cheeks’ as if someone slapped her. She also states that she has had a fever for the past 24 hours. According to the Mrs. B, she gave her daughter Tylenol for the fever, and noted that it was effective for a short period. She also revealed that they had just moved to California three months ago. Moreover, the patient had recently begun working as a teacher’s helper in a preschool. At the school a number of students had not reported to school due to a rash outbreak. In addition, Jesse also revealed that she had her period (menses) one week ago. Her mother asks a question about her own health for she happens to be five months pregnant. The three differential diagnoses that this patient could be suffering from are Mononucleosis, Fifth Disease, and Kawasaki’s Disease. This 16 year old female is exhibiting prodromal symptoms (symptoms that occur before the actual onset of the disease) of these three diseases. Three Differential Diagnoses for this Patient Diagnosis- Characterized by malaise, anorexia, chills and fever which is a prodromal symptom, pharyngitis and lymphadenopathy. Occasionally, the disorder comes on abruptly with high fever. Seek help when severe pharyngitis lasts for five to seven days. Only 90% of patients suffer from lymphadenopathy even though the patient shows no signs at this moment. Rashes that appear look like Rubella when it may appear. Although the disease is common with teenagers it also affects the elderly and the symptoms and management are the same. Screening- Most