Medical Malpractice Research Paper Example | Topics and Well Written Essays - 1500 words

Medical Malpractice - Research Paper Example An understanding of the causes/dimensions, effects and liabilities of medical malpractice can help one to avoid such professional negligence and malpractice lawsuits. Medical malpractice and its characteristics Current trends and statistics relating to medical malpractice Within the past six centuries, medical malpractice has increased drastically. According to statistics, there were a total of 2696 serious cases of malpractice in the United States in 1999 alone (Medical Malpractice par 1). The Institute of Medicine of the National Academy of Sciences states that about 98000 patients risk losing their lives in various hospitals in the US due to medical malpractices (Medical Malpractice par 1). In today’s society, a doctor’s responsibility is to provide affordable care, talent and reasonable judgment in the course of duty. Whenever patients are given wrongly diagnosed, mal-treated or die due to what is perceived to be medical malpractice, the doctors normally are subject ed to a lot of suffering without appreciating their efforts or whatever good they may have done before to save lives. This situation also makes fellow doctor fear performing certain risky procedures for fear of going through similar or worse experiences. Potential doctors are also discouraged from joining the medical profession when they witness such situations. Characteristics of Negligence Malpractice is negligence. Cases of negligence fall under the description of torts. A tort may be a common offence, thus malpractice could be a common offence. In the simplest terms, there are four essential elements of malpractice which include duty, breach, damage and (direct) causal affiliation. Each healthcare supplier assumes a duty when beginning diagnosis, consultations, or treatment of a patient. The duty or responsibility emanates from an implied or expressed contract. Another important element of medical malpractice is breach. If one fails to create an accurate diagnosis once he or she has assumed the duty to try and do so, one might commit a breach of responsibility. Thirdly, causal affiliation which states that damage is caused by a failure to properly diagnose the breach responsibility. Damage is the outcome of a failure to diagnose properly. Medical malpractice occurs when a patient sustains injuries or complications that may or may not be of a permanent and continuing nature due to negligence (Pozgar 558). Negligence is among the most typical civil suit filed against doctors. Legal responsibility for negligence cannot be found unless the following subsequent elements are present: One, the defendant should owe an obligation to the plaintiff to practice care. Two, the defendant should breach the quality of care stipulated by law for his/her behavior. Thirdly, the plaintiff should suffer loss or damage as a result of this breach. Lastly, the behavior of the defendant should be the near cause of the plaintiff’s injury or damage ((Pozgar 65). Cases related to medical malpractice In the case of Adderly v. Bremner it was noted that the defendant medical doctor was careless in not altering the syringes to vaccinate thirty eight patients and as an alternative used one needle for more than one patient (Pozgar 76). As a result, the plaintiff experienced blood poisoning. The doctor in this case did not provide the specified correct care. Any sensible doctor would have actually

Homeland Security Essay Example for Free

Homeland Security Essay The challenge to traditional policing issued in the 1970s has created a new concept of policing and that is the role of policing in homeland security. In the wake of the September 11 terrorist attacks in 2001, the federal government has shifted to a policy of homeland security, and part of that has incorporated local firefighters and local police agencies (Oliver Hilgenberg, 2004). But the creation has a lot of inadequacies. First, so much confusion still abounds in terms of what homeland security means: is it simply being more watchful for suspicious activities, is it intelligence gathering on the part of patrol officers, or is it standing guard at possible terrorist targets in their jurisdictions? Another inadequacy is not so much determining if local police are going to play a role in this new public policy but rather what role they can play. And, beyond determining what role the police will play in homeland security, the natural extension of this is to ask who will pay. Moreover, as the public policy of homeland security is clearly a national policy issue, it would seem that the policy will be an intergovernmental one driven by the presidential administration. While there have been some intergovernmental grant programs implemented, many of these have been slow to reach the local level, raising further questions as to what role state and local police can play without the necessary resources. While it is too soon to determine how this new policy will play out in terms of policing in America, there is little doubt that this will be an active part of the public policy process in policing for years to come. As America responded quickly to the attacks by educating themselves on terrorism and demanding action from government, the president and the U. S. Congress quickly began a process of restructuring government to focus on antiterrorism (prevention techniques) and counterterrorism (how to actively respond to terrorists) measures in order to meet these new demands. The creation of the Office of Homeland Security and its subsequent passage as a cabinet-level department is an inclination that the national government is moving in this direction. In addition, many of the grants for local agencies are now centered on homeland security, and perhaps most telling is the fact that the Office of Community Oriented Policing Services had its budget slashed by the Bush administration, but the Department of Homeland Security has seen its budget allocations increase substantially. Although only time will tell if American law enforcement has entered into a new era of policing, there is little doubt that homeland security has become an overriding policy of the current administration and that, it will continue to be at least until January 2009 (Office of Homeland Security , 2002). Hence, a coordinated response to Homeland Security was good for interagency operations. That is why President George W. Bush signed the Homeland Security Act into law on November 25, 2002 (National Public Radio, 2002). It has been touted to be the greatest reorganization of the federal government since the beginning of the Cold War. Several departments have been assigned to the new Secretary for Homeland Security. Some of the agencies transferred to the Homeland Security (DHS) include the United States Secret Service, National Infrastructure Protection Center, Energy Assurance Office, National Communications System, United States Coast Guard, Customs Service, Transportation Security Administration, Federal Protective Service, Functions of the Immigration and Naturalization Service, Office of Domestic Preparedness, Selected functions of the Department of Agriculture, Federal Law Enforcement Training Center, National Bio-Weapons Defense Analysis Center, Nuclear threat assessment programs, Federal Emergency Management Agency, Domestic Emergency Support Team, Metropolitan Medical Response System, National Disaster Medical System, Strategic National Stockpile of the Department of Public Health, Nuclear Incident Response Team, A new Bureau of Citizenship and Immigration Services. Further, this new department is arranged under five Under Secretaries for: (1) Information Analysis and Infrastructure, (2) Science and Technology, (3) Border and Transportation Security, (4) Emergency Preparedness and Response, and (5) Management Services (Oliver, 341-342). The purpose of this massive reorganization of course is to centralize government planning and response. The DHS has been charged to cooperate and coordinate with state and local governments. The CIA and FBI remain separate agencies. In the homeland security, the government is calling for full participation by state and local agencies. Hence, it is good as it seeks to develop cooperative relationships with existing police agencies and homeland defense managers need to negotiate power sharing arrangements with state and local police.

Importance of Imagery in Hamlet Essay -- GCSE English Literature Course

Importance of Imagery in Hamlet In 'Hamlet', imagery performs three important functions. Firstly, it helps to individualize the major characters of the drama. Secondly, it announces and elaborates major themes. And thirdly, reiterated images establish the distinctive atmosphere of the tragedy and keep the underlying mood of a scene, or of a succession of scenes, before the audience's mind. The crucial dramatic event on which the plot of 'Hamlet' hinges - the murder of King Hamlet by his brother Claudius - takes place in the pre-history of the tragedy, but it is vividly recalled for Hamlet (and for the audience) by the ghost in 1.5. The old king describes in vivid detail how the poison attacked his body as he slept, and how that healthy organism was destroyed from within, not having a chance to defend itself. The leperous distilment, whose effect Holds such an emnity with blood of man, That swift as quicksilver it courses through The natural gates and alleys of the body, And with a sudden vigour it doth posset And curd, like eager droppings into milk, The thin and wholesome blood; so did it mine, And a most instant tetter barked about Most lazar-like with vile and loathsome crust All my smooth body. At two further points in the play's action physical poisoning visually recurs - the poisoning of Old Hamlet is re-enacted in 3.2 by Lucianus and the Player King; and in the final scene of the drama all of the major characters, including the arch-poisoner Claudius himself, meet their deaths by poison. Poisoning also becomes a distinctive recurring pattern in the play's imagery. The individual occurrence in the palace garden is expanded into a symbol for the central problem of the... ...in his hands and philosophises on life and death. Images of animal lust and sensual appetite highlight Hamlet's feeling of revulsion at the adulterous, incestuous relationship between his mother and his uncle. The carnal nature of their relationship is emphasised through a pattern of animal images. In his opening soliloquy the grieving Prince declares his disgust that even an animal lacking reasoning power would have mourned longer for its mate than Gertrude did for her dead husband. O God, a beast that wants discourse of reason Would have mourn'd longer And the pair are imaged by him as pigs in their lovemaking Nay, but to live In the rank sweat of an enseamed bed Stewed in corruption, honeying and making love Over the nasty sty Finally, the bloat king is variously described by Hamlet as a 'satyr', 'beast', 'paddock', 'bat', 'gib'

A Man of Much More †Giuseppe Garibaldi Essay

Through his adventures as a general and a freedom fighter, Giuseppe Garibaldi emerged as the first international celebrity and hero. As one of the few esteemed Italian heroes today, Garibaldi is â€Å"the only one who is loved as well as admired†. [1] Born in 1807 in Nice, France, Giuseppe Garibaldi was drawn into radical politics and seafaring as a young man. He soon was granted his captainship and participated in various political insurrections and uprisings. Upon his exile from Piedmont, Garibaldi was able to display his courage, persistence, and audacity, by sailing and battling as a freedom fighter in Brazil, Uruguay, and Argentina. Between 1848 and 1867, he fought numerous campaigns throughout Italy with inferior odds to the opposing French, Neapolitan, and Austrian forces for the coalition of his homeland. With his leadership and perseverance to liberate all men, Garibaldi was able to unify Italy in a final campaign in France against the Prussians, bringing Rome back under control of the Italian government. Garibaldi, through creating his image as a hero and celebrity, acquired a mythical status that is questioned by historians today. Historians try to extrapolate every aspect of Giuseppe Garibaldi’s honored character and life. They seek to find what factors provided his worldwide reverence and notoriety. Scholars such as Alfonso Scirocco and Lucy Riall employ the idea that truth and reality must be extracted from the myths embedded in the heroic image of Garibaldi. [2] In reality, noted by Paul Vallely, the materialization of media and propaganda by himself and the radical leader, Giuseppe Mazzini, served as the key factor in Garibaldi’s progression to public idolization both during and post-life. [3] Self-sacrifice and self-achievement are qualities of heroes, while propaganda and media are devices that institute fame and idolization. With the self-conscious manipulation of the press and media with help of his mentor, Giuseppe Mazzini, and determination to sacrifice to achieve goals for both himself and his country, Giuseppe Garibaldi was able to create an image as a hero, celebrity, and the â€Å"heart-throb of modern Europe†. [4] What many historians falsely accuse today, is the notion that Garibaldi was a renowned hero, whose fame was unwillingly brought upon himself due to his notable excursions as a political and military leader. This fictitious statement declares no external sources factored into the construction of Giuseppe Garibaldi’s fame, notoriety, and mythic image. In opposition to this superficial declaration, historians such as Lucy Riall and Paul Vallely pronounce that Garibaldi’s recognition and prominence as a hero was acquired through a series of self-fashioning decisions that promoted himself as a political idol to the people of Italy, and even Europe in the broader spectrum of political interest. [5] Garibaldi’s fame was acquired through a combination of factors resulting from the intentional, political strategy planned by nationalist, radical and political leader, Giuseppe Mazzini. Mazzini sought to foster radical republican views through the use of one, living, breathing, iconic hero. The emergence of new technologies, principally the electric telegraph and the cheaper printing machines, sparked what was called the information revolution, which was â€Å"expressed in the proliferation of newspapers and a popular press†. [6] This revolution was accompanied by the growth of literate masses as well as a generation of a new political culture with the public partaking in more â€Å"traditional forms of mass political expression†. 7] Using the new printed media and propaganda, Mazzini and his publicists (Mazzinian journalists) set out to endorse Garibaldi as a romantic, radical hero. In one of many attempts to promote and uphold Garibaldi’s developing image as a hero, Mazzini published two articles describing Garibaldi and his Italian Legion in Uruguay to London paper, the Apostulato Populare. The paper proclaimed, â€Å"[W]e name him [Garibaldi] with pride to our brothers†¦ because we are sure that he considers his career in South America to be merely the apprenticeship for the Italian war which one day will call him back to Europe†. 8] Glorifying his expeditions and rebellions in Uruguay, Mazzini set out to show to the public of Italy and Europe that Garibaldi was a leader and a liberator, who fought for the freedom of all men. As a continuation of his relentless promotion of Garibaldi, in January 1846, Mazzini wrote a letter to the London Times admiring the patriotism and courage of the Italian Legion. In the summer of the same year, a French translation was published as a propaganda pamphlet, which would circulate hrough continental Europe encouraging the â€Å"good people who have strong feelings of charity towards their fatherland†. [9] With encouragement of Mazzini, Filippo de Boni, a Swiss radical, published a long article in his monthly newspaper, Cosi la penso, exaggerating the lack of public support and interest regarding the sacrifices made by Garibaldi and the Italian Legion in Montevideo, but â€Å"exalting Garibaldi as ‘a man resolute in his generosity, a man of courage and intelligence, capable of great deeds, and for this freely elected by the legionaries as their colonel’ †. 10] In another effort to advocate the emerging radical politician, Giuseppe Mazzini commiss ioned the first portrait of Garibaldi that was published in Il Mondo Illustrato, in 1848 before his arrival in Italy in June 1848. This lithograph, that was taken and circulated to raise money for nationalistic causes, â€Å"depicts Garibaldi as a romantic, exotic figure, half turned towards the viewer†. [11] This spread his romantic image as a fighter – full beard and long, flowing hair, hands rested on a sabre, aesthetic eyes – and a leader. 12] This lithograph, in effect, led to the mass production of engraved portraits of Garibaldi to circulate through revolutionary (Northern) Italy. Upon his return in spring of 1848, Garibaldi was already a distinguished character, celebrated for his victories perpetuating Italian honor and â€Å"political freedom in foreign lands†. [13] Thanks to Mazzini’s efforts with the media and press, Garibaldi had become identified with courage, liberality, and ethical righteousness – â€Å"virtues exalted as inherent elements of italianita†. 14] Garibaldi had to both look and act the part of a hero, celebrity, and the symbol of Italy as one nation. He acted as a â€Å"media-savvy politician† and often basked in the attention given to him by journalists and reporters. [15] His image, notably his appearance, appealed to the reading public in his portraits and changed according to his mental and emotional states in life. Shortly before the departure of his voyage to South America, a British naval officer accurately portrayed his appearance: †¦ firm well-built frame which sat his horse like a centaur. He wore his hair and beard long; they were then of a dark brown colour, with a reddish tint in the latter. His countenance was remarkable for its serenity, and the lips pressed close together denoted a strong will, whilst his eyes were steadfast and piercing in their gaze. In stature he was of medium height, and was altogether the beau ideal of a chief of irregular troops. [16] This depiction of Garibaldi â€Å"in the full vigour of his manhood†, displays his representation as a leader, both strong and self-assured. Others, upon Garibaldi’s return to Italy during the revolutions of 1848-49 depicted him as a â€Å"represent[ation] of radicalism and rebellion, and his roughly physical, distinctly sexual, appeal could scarcely have differed more from prevailing aristocratic conventions of political portraiture†. [18] In a daguerreotype (type of photograph) taken by Marcus Root in 1851, Garibaldi is portrayed in a strikingly different manner than his previous romantic, freedom-fighting image. No trace of his red blouse, flowing hair, and zealous expression is present. He strikes a solemn, mannerly pose, with the nature of a rising sun in the background. His good looks are apparent, but he is groomed, wearing a â€Å"dark double-breasted coat and neatly tied cavat, with tidy and well trimmed hair and beard†. [19] The tranquil yet downhearted stare in his eyes shows viewers his emotional state of reverence and the change of persona that had occurred. Garibaldi’s exile to America marks the point of leaving his image as a bandit and freedom fighter. This new radically changed guise while in New York, remarks a heavy notion of respectability, in opposition to the â€Å"the youthful romantic, the exotic and picturesque rebel who had fought on the hills above Rome in 1849†. [20] This deep feeling of somberness was due to the death of his Uruguayan wife; his companion through his wild escapades as a freedom fighter. In a portrait of Garibaldi, artist, Gustave Dore, set out to show the compromise between â€Å"Garibaldi’s romantic past and more conventional present†. 21] Placed in a rocky scenery, Garibaldi is shown in the portrait with a cloak over top his generals uniform; this idea stresses his new gentlemanly features acquired in New York due to his mannerly Piedmontese uniform, but also emphasizes Garibaldi’s romantic past – the rocky peak in the background, with Garibaldi at the top bearing his cloak and long hair. Garibaldi did not simply appear drastically different to appeal to the radical public of Europe. He appealed to â€Å"Italy’s famous past, to religion, martyrdom and betrayal, to military violence and hatred of the foreigner, and to family, sex and romantic love†. [22] Along with his astounding military accomplishments, Garibaldi was able to gain the love and support of the people through his constant modification of his own image. Self-consciously, Garibaldi constructed himself into a â€Å"global brand† and â€Å"the heart throb of metropolitan Europe†. [23] Continuing his role as a self-fashioning, nationalist hero, Garibaldi intended to attain worldwide reverence subsequent to his glorious life. Upon his death in 1882, The Times (London), according to Riall, expressed the shock at the loss of a man who had â€Å"fascinated two hemispheres for thirty years†. [24] This fascination with Garibaldi, the idea of popularity and intense idolization, was acknowledged more after his death than during his lifetime. His use of media to create a strong self image, his personal skills and physical attraction, and his spectacular military victories all contributed to the realization, which occurred after his death, that he was the true hero and sword in the Risorgimento and unification of Italy. Garibaldi’s memoirs and autobiographical novel, I Mille, were prolongations to his endeavors of promoting his own image. In conclusion to his long life of upheaval and radical political affairs, Giuseppe Garibaldi intended to allege himself as the symbol of the Risorgimento movement and the resurrection of Italy, to which he dedicated his very own existence. The funeral processions and ceremonies of Garibaldi occurred in many major cities of Italy; all elaborate celebrations of his greatness and contribution to Italy’s unification. In Rome, perhaps the most ornate commemorations occurred. A color lithograph was printed depicting the transport of Garibaldi’s bust to the Campidoglio in Rome. In the print, a marvelous parade follows the bust of Garibaldi’s head, which is being crowned with a laurel wreath by a statue of liberty placed beside the giant head. The enormous statues are drawn in a carriage by eight white horses and carved into the side of the carriage were portrayals of Garibaldi’s triumphant arrivals into Naples, Palermo, and Rome. [25] Riall seeks to xpose Garibaldi’s post-life reverence and attempt to signify himself as the ‘Sword’ of Italy’s unification. In conclusion, Garibaldi was indeed a self-fashioning hero and political actor who strove at self-promotion due to the awareness that a new age of â€Å"ubiquitous† fame and ceasing belief in â€Å"Great Men† was present. [26] Undoubtedly, Garibaldi’s political innovation and military successes played value roles in obtaining iconic public appeal for 40 years while shifting from a revolutionary standpoint of nationalism to an official principle of an established regime, the Risorgimento. 27] Predominantly, his interaction with the press and media and his â€Å"natural possession† and â€Å"dramatic timing†, applied his fame and fortune: †¦ he knew how to strike a pose, he knew how to use his voice, his body and his smile, he knew when to be brave and when to be humble, and he knew when to abandon the stage and distance himself from the public furore created by his presence.

Miranda Complex in Julia Alvarez’s How the Garcia Girls Lost Their Accents Essay

The article of Jennifer Bess who is an assistant professor of Peace Studies at Coucher College in Baltimore, Maryland, starts with a quotation from Alice Walker’ s book The Way Forward Is with a Broken Heart: A diary like this, with so many blank pages, seems to reflect a life permeated with gaps, an existence full of holes. But perhaps that is what happens when one’s experience is so intensely different from anything dreamed of as a child that there seems literally to be no words for it. This quotation is a kind of foreshadowing of what Bess puts forward in her article. The article starts with the background of the Miranda complex which is stated in the article’s title. It is mentioned that there is a girl named Miranda in Shakespeare’s play The Tempest. She has all the privileges of her father’s administration over an island; however she states that â€Å" I have suffered/ with there that I saw suffer! â€Å" because of his father’s authoritarianism. From the gender point of view, she carries the burden of oppression and powerlessness of Caribbean people and also the burden of oppression â€Å"the benefits and protection offered by colonizing father and husband. † She is a victim and an inheritor of the forces of colonialism at the same time. According to the article, Julia Alvarez studies this complex inheritance in her autobiographically based novel How The Garcia Girls Lost Their Accents. Alvarez’s characters tell many truths about their history and shared identity through Garcia girls. At the beginning of the novel, Alvarez goes back to the history of Garcia family to the time of Miranda . There were conquerors â€Å"encircling her own wrists† and she passes on these conquistadors to the Garcia sisters in the novel. The novel then emphasizes the themes of loss and violation; on the one hand there is a comfort and strength when the Garcia girls experience the female alliance and the richness of their shared Dominican experience; on the other hand however, they feel the pain of oppression. Because the privileged women of color tell only some parts of the story, her novel involves the mixed voices of silent people and the history’s loses along with Garcia family’s role in violence and victimization. According to the article, Alvarez’s characters come across wit the absence of memories so she must dig into the collective memory in order to uncover what remains of â€Å"common experience broken in time. Just like Miranda, the character Yolanda sympathizes with the others who suffer, however; she cannot identify herself with them completely because of her privilege, just as she cannot identify completely with Americans and even with her own extended family on the island. Her identity is fractured, unlike Miranda who depends on her father to fill in the gaps of her past, Yolanda takes the responsibility and writes her own past; in short she â€Å"recaptures the self† through her self creation. Alvarez’s characters cannot recover the loses of the past but with the exploration of Miranda’s complex, they transform â€Å"mandate of silence† into a revolution of truth telling and self-invention. For the Bess, the novel’s missing words and missing stories forms its theme; however the theme is not only one of loss ; it is also one in which Miranda faces the price of her family’s privilege. In other words, Alvarez uses absences and silence to expose the complexity of her characters’ inheritance, an inheritance shared by all â€Å"who have been shaped by the legacies of western expansion. Bess uses a quotation from Almanac of the Dead referring the alienation that the Garcia girls experienced; In Almanac of the Dead, Leslie Marmon Silko explains through a storyteller that the theory of the Big Bang was â€Å"consistent with everything else that he had seen: from their flimsy attachments to one another and their children to their abandonme nt of the land where they had been born,† westerners and those who have inherited their culture all share the same fate of alienation as do Adam and Eve, â€Å"wandering aimlessly because the insane God who had sired them had abandoned† and expelled them (1991, 258). She continues with another quotation stating that Silko calls the European as the orphaned children and thinks that the girls suffer after their exile: As Silko continues, â€Å"the Europeans had not been able to sleep soundly on the American continents, not even with a full military guard. They,† Like their heirs in Carlos and Yolanda, â€Å"suffered from nightmares and frequently claimed to see devils and ghosts† Their past, divided by the â€Å"river of bodies† left by the Haitian massacre and by the massacre of the natives hundreds of years before, will forever keep the Garcias orphaned spiritually.

An analysis on how D H Lawrence portrays the theme of freedom his two stories Essays

An analysis on how D H Lawrence portrays the theme of freedom his two stories Essays An analysis on how D H Lawrence portrays the theme of freedom his two stories Paper An analysis on how D H Lawrence portrays the theme of freedom his two stories Paper Essay Topic: Literature In the two narratives, The Shades of Spring and Things by D. H Lawrence, the theme of freedom is portrayed through the text. In both stories, Lawrence attempts to express his own views of freedom and tries to explain to the reader why it is important that people have freedom, in whatever context, today. Each short story reveals a theme of freedom, although the style in which D. H Lawrence represents that freedom varies between each narrative. The two stories have two totally different plots, character personalities, and ideas. Along with this both stories describe many different themes. However, Lawrence seems to have brought up the theme of freedom in both of these stories, most probably to emphasise the importance of the ability and to try to get the reader to appreciate the fact that he or she should be thankful that they have freedom today. In the Shades of Spring, freedom is depicted through descriptions involving the environment and the nature surrounding it. The best examples of this is when the main character, D. H Lawrence describes the surrounding environment in every new scene that arises, as the story progresses. In one of the opening scenes of the story Lawrence describes the landscape, which can be seen from Sysons position; Syson who is the main character of the story. When Syson arrives enters this new scenic landscape, Lawrence begins describing the surrounding in terms of the flowers, the streams, the pools of bluebells and the ice-water blue lakes. Ah, isnt it lovely, Syson exclaims in the text when he sees this area for the first time. In Lawrences detailed description about how Syson has never seen the country side looking so beautiful before, Lawrence forebodes the fact that Syson is reflecting on his life, and is trying to say that it was his freedom that allows him to see these beauty of natures setting. Not only does Lawrence express this theme in his descriptions, but it is also apparent that the theme is described in the dialogue of Syson. Again with Sysons dialogue, Syson tries to express how free he is in the way in which he talks about the environment. In addition to this, Sysons perception of the environment also portrays this same idea. An example of this is when Syson is talking to Hilda, and Hilda replies to one of Sysons questions saying, I am like a plant I can only grow in my own soil. Lawrence explains to the reader that Syson was trying to show that Hilda didnt have the freedom he had, and that is why their relationship couldnt start again, as Syson had wanted it to be. The theme of freedom can be seen expressed in the dialogue, descriptions, and character perceptions in The Shades of Spring. In Lawrences other short story, Things, freedom can be seen through the life of the family in the storyline. The theme is expressed through the way in which Lawrence describes the way the family live. Like it says in the story, the family living free is the answer to a beautiful life. In the opening paragraph of the story, Lawrence emphasises that no matter what else was going on with the family, they were free, and that is all that matters. This is clear when Lawrence states, still they were free. Free! He also says later that, to be free is to live ones own life! In this quote Lawrence makes, he expresses his own opinion on freedom. Valerie, the main character, has an ambition to live a free life in this story. This is apparent when we see how much Valerie pushes her son Erasmus to lead the same life as her. She forces him to live a life similar to that of the American dream, and exclaims how giving up his freedom would mean giving up his full and beautiful life. The words full and beautiful life seem to appear many times throughout the text, and seem to pose some importance for Lawrence himself. An interesting point to make about this story is the fact that America itself is used as a symbol, of an un-free country in the story. Valerie explains in the middle of the story how they had been, free people, living a full and beautiful life, and how moving to America had changed all that. This becomes more apparent nearing the end of the story when Erasmus, the son, tells the story about how he would not give up that freedom which he believed in so much. In Things, the revelation of the theme of freedom is much more easier to understand than with The Shades of Spring. It is obvious through the in-depth analysis of the text that, there is a theme of freedom seen in both short stories by D. H. Lawrence. Even so this is the case, Lawrence depicts freedom in different ways in the two stories. In The Shades of Spring, the theme of freedom is defined as the freedom being able to go anywhere and make your own free choices. It is expressed through Lawrences intense detail to nature and other relevant surroundings. In Things we look at freedom in how to be free to live ones own life. In Things, Lawrence is trying to state that being free and being free to make your own decisions in life without someone else making them for you, is necessary if you wish to live a full and beautiful life, as Lawrence puts it. Not only do the stories differ in the way the theme of freedom is used, but also there is a rather big difference in the way the theme of freedom is represented in each of the texts. Each story follows a certain style of description, which Lawrence uses to portray his themes and ideas. In Things, Lawrence focuses more upon a family and their life, looking specifically at their ambitions and aims in life. In the other story, The Shades of Spring, Lawrence uses nature to illustrate and symbolize a sense of freedom within the text. Also what appears to be apparent is the detail that Lawrence uses symbols more often to describe his opinion about freedom in, The Shades of Spring, whereas in Things, his opinion is more clear right from the beginning of the story. Even though Lawrence uses different techniques to describe his theme on freedom, his opinion and his personal message to the reader appears to be the same. This message is that we should be thankful that we are free and able to do whatever we want and what is best for us, without someone having to make our minds up for us. In a simple context, he is trying to say that if we have freedom we can live a happy life. Lawrence must have had some personal motivation to include this theme in more than one story. We can also see this theme being used in other D. H Lawrence stories, another good example being The Horse Dealers Daughter. In this story the main theme being represented was that life controls us. This is connected to Freedom again, as we see in this story, Mabel, the main character, cant control her life, and we see a depressing life being formed at the start of the story, as a result of this. Lawrence is trying to tell people to turn this around, make yourself control your life, and be independent, because at the end of the day, it is freedom that makes us happy.

Pope Urban II Odo of Lagny

Pope Urban II Odo of Lagny Pope Urban II was known for beginning the Crusade Movement, instigating with his call to arms at the Council of Clermont. Urban also continued and expanded on the reforms of Gregory VII, and helped the papacy become a stronger political unit. Urban studied at Soissons and then at Reims, where he became archdeacon, before becoming a monk and retiring to Cluny. There he became prior, and after only a few years was sent to Rome to assist Pope Gregory VII in his attempts at reform. He proved invaluable to the pope, and was made a Cardinal and served as a papal legate. Upon Gregorys death in 1085 he served his successor, Victor II ​until Victor died. He was then elected pope in March 1088, and influenced affairs throughout France, Italy, Europe, and the Holy Land. Also known as:  Odo of Chà ¢tillon-sur-Marne, Odon of Chà ¢tillon-sur-Marne, Eudes of Chà ¢tillon-sur-Marne, Odo of Lagery, Otho of Lagery, Odo of Lagny Important Dates Born: c. 1035Elected Pope: March 12, 1088Speech at Council of Clermont: Nov. 27, 1095Died: July 29, 1099 The Pontificate of Urban II As pope, Urban had to deal with the antipope Clement III and the ongoing Investiture Controversy. He was successful in asserting his legitimacy as pope, but his reform policies did not take thorough hold throughout Europe. He did, however, establish a softer stance on the Investiture Controversy that would later make a resolution possible. Long aware of the difficulties pilgrims had been having in the Holy Land, Urban used Emperor Alexius Comnenos call for help as the basis for calling Christian knights to arms in the First Crusade. Urban also called together several important church councils, including those at Piacenza, Clermont, Bari, and Rome, passing notable reform legislation. Sources Butler, Richard U.  Pope Bl. Urban II.  The Catholic Encyclopedia.  Vol. 15.  New York: Robert Appleton Company,  1912. Halsall, Paul. â€Å"Medieval Sourcebook: Urban II (1088-1099): Speech at Council of Clermont, 1095, Five Versions of the Speech.†Ã‚  Internet History Sourcebooks Project, Fordham University, Dec. 1997.