Wilfred Owen

Wilfred Owen -The old Lie Essay The old lie is a term that was developed by Wilfred Owen. The phrase refers to the story that was told to soldiers and civilians of the day. This story was indeed an idealistic view of war and fooled the general population into believing that war was glamorous and glorious and that dying for ones country was noble and dignified. The old lie was developed over many years and originally started in the days of the Romans that in roman times fighting for your country was honourable as every warrior needed to be extremely fit and skilled in battle, hence, it was an occupation for the physically elite. In modern day war, an unfit unskilled man can easily kill a skilled and fit man with a gun with little or no effort, and this death is one of an undignified nature and certainly not glorious. We will write a custom essay on Wilfred Owen -The old Lie specifically for you for only $16.38 $13.9/page Order now The views from Roman times have been carried through to the modern ages though and even though it was a reality that war was no longer fought by skilled men and death on a battlefield was anything but dignified, civilians had no idea of this and still believed the old lie as old attitudes had been carried through to the modern days. The attitudes of people towards war changed during World War One for many reasons. Originally the attitude to war in the 18th and 19th centuries was that war was glorious and that dying for your country was a noble and graceful act. These views were conveyed to the general public through literature such as the poem The Charge of the Light Brigade by Lord Alfred Tennyson. This poem was written about a particular battle during the Crimean war and is based around the fact that the soldiers in that war dies a noble death on the battlefield and even though they died due to an inexplicable mistake by one of the commanders not one of them questioned that decision. The general public were not fully aware of the horrors that war held and poets of the time did not seem prepared to shed war in a negative light, perhaps war raised morale and patriotism in the country. When Brooke started writing at the beginning of the First World War attitudes were that war was seen as romantic and glorious and death on the battlefield was considered noble and dignified. As the war developed, these views changed in correspondence with the publications of Wilfred Owens poetry. Owens poetry shed a new light on war and it discussed how death on the battlefield was actually undignified and death was not honourable and that war was pointless and horrific. Owen expresses these views through his poetry. A factor that heavily contributed to peoples perception of war was the literature that was published both through poetry and the media as plenty of people in that time read poetry and the media had a huge influence over peoples opinions. If the general trend in literature being published was that war was glorious and dignified the publics opinions were more than likely to follow in that general direction and vice versa, hence poetry had a huge grasp over the thoughts of the entire country as if one respected poet demonstrated those views, this could sway the perception the whole country had to war On the other hand the views of poets and the media could be propaganda that was employed in order to help raise the morale of the country and for numerous other causes. An example would be Charge of the Light Brigade, where Tennysons views are so concentrated on the positive aspects of the battle through the use of euphemisms one can only suspect that there was a propaganda campaign behind this in order to perhaps shelter the armed forces from criticism and to raise the morale of the country. The Charge of the Light Brigade was a poem written during the Crimean war after Britain had just lost a battle in devastating fashion, due to a mistake by one of the commanding officers, soldiers were sent into an ambush and close to six hundred died pointlessly and their deaths were avoidable or postponable at the very least. Tennyson actually wrote this poem as a third person as he was in no way involved in the war and drew all his information from the famously biased British media, i.e. a newspaper. Perhaps this played a role in his idealistic and euphemistic portrayal of the battle. Tennysons attitude to war was one of extreme jingoism and was extremely idealistic. His view of war was that it was glorious, dignified and honourable to die for your country. His poetry conveys to the reader that he possibly knew of the true horrors of that battle but he played down the negative points through euphemisms, for example, while horse and hero fell, this line is essentially saying that the soldiers died on the battlefield but though the use of the word fell and hero, Tennyson allows a sentence about death to become majestic, serene even, which is a testament to his skills as a writer. Through Tennysons poetry it becomes apparent to the reader that Tennyson has never fought in a war himself and that he was most probably raised to accept the old lie as gospel truth. This is due to his idealistic views and his use of euphemisms, and his jingoistic attitude to war allows him to actually glorify a battle that could not have gone worse for the British. Tennyson demonstrates through this poem that he very much respects soldiers that have fought in battle. In The Charge of the Light Brigade he immortalises all the soldiers who died but made sure not to name any specific soldier as this would raise his profile above that of the rest and in his eyes they were all equally respectable. He demonstrates his respect for the soldiers through the line, When can their glory fade? Honour the light brigade. This shows us that Tennyson felt strongly that the light brigade deserved to be honoured for what they had done. The issue of their honour was quite an emotional issue for Tennyson, hence, the rhetorical question, When can their glory fade?, which of course is rhetorical as in his eyes, their honour can never fade. The rhythm and rhyme in this poem are meticulously assembled to convey several subconscious messages to the reader. The rhythm of the poem is reminiscent to the sound of a horse galloping which bears significance in the context of this text as the men who dies in the battle the poem is based on, died whilst riding horses. Tennyson uses the line Cannon to the right of them, Cannon to the left of them, Cannon in front of them to great effect. The repetition of the word cannon and the increase in tempo when reading these lines helps to convey to the reader how much danger the soldiers were in and how the odds were stacked completely against them. The repetition and change in tempo integrates well with the rhythm which is reminiscent of a horse galloping and all of this helps to paint a vivid image in the readers mind of the battle scene. The rhyme in this poem is varied. There are several examples of half rhymes and the effect they have is that they give some tune to the poem to help it be rousing. Alliteration is used in this poem in order to emphasise the tragedy of what happened, for example, horse and hero and all the world wondered. These uses of alliteration help to give a more sombre feel to the poem and help the reader to fully experience the tragedy of the battle and to help keep the solemn and respectful feel of the poem. Another poetic technique used by Tennyson in this poem is that when he addresses the reader he talks in the present tense, for example, When can their glory fade?. Tennyson may address readers in this manner to possibly feel more personally linked and involved and this may help to evoke emotions from the reader. Metaphors are used in this poem in order to stress the unavoidable danger than the soldiers are in, for example, into the jaws of death, this line gives the reader the effect that the soldiers are doomed before they begun and could help the reader to comprehend how much danger the soldiers were in during battle. The Soldier is a poem written by Rupert Brooke at the beginning of World War One. This poem was written at a time when peoples attitudes towards war were still very much linked with the old lie and the jingoism of Tennyson although attitudes were now changing. Attitudes were changing as more men had experienced war and knew the true horrors of war. This poem was written during a transition period from when they old lie was widely believed, to the point when it was obsolete. This poem is extremely nationalistic due to the repetition of the word England. For example, A dust whom England bore and A body of Englands, breathing English air are but to name a few references of England in this poem. Brooke was quite prepared to die for his country, we know this from the line, In that rich earth a richer dust concealed, in that line he is talking about his own ashes being the dust with not an ounce of regret, this shows he is perfectly happy to die for his country and he also feels that because his ashes are from England this is a richer material than foreign Earth as he has successfully personified his ashes into England, Brooke is once again showing his nationalistic attitude here. Brooke writes this poem in the form of a sonnet (14 lines with 10 syllables per line) which is traditionally a love poem. Brooke uses this form of poem to convey to the reader how devoted and in love he is with England. Throughout the course of this poem Brooke puts across to the reader that it is an Englishmans duty to fight for England, to repay the country that has nurtured you as you would your mother. Brooke never directly quotes this but implies this through lines such as, A dust whom England bore, shaped, made aware. This implies that a soldier should be grateful to his country for turning him into the man he is and if the honour of his country is at stake, he must defend his country as he would his mother who also bore him. This poem has an extremely serene tone and includes a lot of euphemism in order to play down disgusting and violent scenes like death on the battlefield, and turn them into peaceful and serene scenes. For example, A body of Englands, breathing English air, literally translated this sentence is describing a corpse which is quite a disgusting entity to imagine but through the use of euphemisms such as body of England, the sentence sounds less disgusting and almost serene. Another example of euphemisms in this poem is the line If I should die, Brooke is keeping an optimistic attitude about whether he will even die and is not condemning himself, which lessens the effect of the line and brightens the tone of the poem. Brooke also uses the euphemism of the word dust instead of ashes in order to further play down how gruesome death on the battlefield was, A dust whom England bore, shaped, made aware. .u5b060d622a04eab06aec4fc84f0fbbbc , .u5b060d622a04eab06aec4fc84f0fbbbc .postImageUrl , .u5b060d622a04eab06aec4fc84f0fbbbc .centered-text-area { min-height: 80px; position: relative; } .u5b060d622a04eab06aec4fc84f0fbbbc , .u5b060d622a04eab06aec4fc84f0fbbbc:hover , .u5b060d622a04eab06aec4fc84f0fbbbc:visited , .u5b060d622a04eab06aec4fc84f0fbbbc:active { border:0!important; } .u5b060d622a04eab06aec4fc84f0fbbbc .clearfix:after { content: ""; display: table; clear: both; } .u5b060d622a04eab06aec4fc84f0fbbbc { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5b060d622a04eab06aec4fc84f0fbbbc:active , .u5b060d622a04eab06aec4fc84f0fbbbc:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5b060d622a04eab06aec4fc84f0fbbbc .centered-text-area { width: 100%; position: relative ; } .u5b060d622a04eab06aec4fc84f0fbbbc .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5b060d622a04eab06aec4fc84f0fbbbc .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5b060d622a04eab06aec4fc84f0fbbbc .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5b060d622a04eab06aec4fc84f0fbbbc:hover .ctaButton { background-color: #34495E!important; } .u5b060d622a04eab06aec4fc84f0fbbbc .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5b060d622a04eab06aec4fc84f0fbbbc .u5b060d622a04eab06aec4fc84f0fbbbc-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5b060d622a04eab06aec4fc84f0fbbbc:after { content: ""; display: block; clear: both; } READ: The Voice by Thomas Hardy EssayAnother euphemism used to play down death on the battlefield is that Brooke uses the word sleep instead of the word death. The effect this has on the reader is that it greatly reduces the shock to the reader and once again maintains a peaceful tone and helps to portray death on the battlefield in a serene fashion. The sound and rhythm of this poem contributes to the serene feel of the poem as the poem is written the form of a sonnet which is traditionally used to write love poems, therefore Brooke is expressing his love for England. Love poems are always tranquil and never violent; hence, that is the tone of this poem. This poem uses a lot of personification. For example, this poem heavily personifies England into many different forms. For example, her (England) flowers to love and Her (England) sights and sounds. These two lines show Brooke Personifying England. Brooke talks about colonisation of a foreign field even if the English lose the battle as their ashes will be absorbed by the ground and turn that, metaphorically, into English territory. He expresses this through the line, In that rich earth, a richer dust concealed. This once again reinforces his reputation as a nationalist. The poem Peace which was also written by Rupert Brooke is essentially a poem that has been designed in order to encourage men to enrol in the army. The line, we, who have known shame, we have found release there. This line translates into, if you carry shame then joining the army will rid you of all your shame, which if nothing else is a clear message to encourage men to enrol in the armed forces. Brooke may have written this as his views are clear from The Soldier and those are that it is an honour to fight for your country so it comes as no surprise that Brooke is writing a poem about the advantages of enrolling in the army. Brooke also talks about spiritual rewards in the afterlife through death on a battlefield for England, for example, Nothing to shake the laughing hearts long peace there. This line is talking about that fact that dying on a battlefield for England is an extremely small price to pay for an eternity of peace and enjoyment in the afterlife. This once again reinforces his reputation as an extreme nationalistic. Some time after Rupert Brookes views on war were commonplace, an entirely new and different attitude to war was developed during World War One and this is reflected in the works of Wilfred Owen. This different attitude to war that developed was an attitude that was completely against war. Through greater use and reach of the media and possibly less propaganda and through the literature of poets such as Wilfred Owen, the general public were no longer fooled by the old lie. People generally started to realise that war was actually quite a horrific experience and no longer considered it glorious once realities such as conditions inside the trenches were exposed. Anthem for Doomed Youth, was a poem written by Wilfred Owen during the First World War. This poem is very similar to The Soldier by Rupert Brooke, in that they two poems essentially deal with the same issues: that of remembering the dead of the war and death on the battlefield, but the views and tones of the poems are a world apart. The two poems, The Soldier and Anthem for Doomed Youth are both dealing with the issue of the death of a soldier on a battlefield. Owens viewpoint is that when a soldier dies on a battlefield it is an extremely undignified death, he expresses this in the line, What passing bells for those who die as cattle? Only the monstrous anger of the guns. This conveys to the reader that the lives of soldiers were treated merely as numbers and that most soldiers were cannon fodder whose only purpose was to die a meaningless death on the front line, only marked by the continuous shooting of the guns. Owen portrays death on the battlefield as the least dignified way to die. Tennyson also concurs with the views of Brooke, as from the poem, The Charge of the Light Brigade, the line When can their glory fade?. The poem The Soldier was written in the form of a sonnet because Brooke is trying to emphasise his love for his country as sonnets are generally love poems. The poem, Anthem for Doomed Youth was written in the form in the form of a sonnet because Owen is trying to put across to the reader the idea of ironic love, that is, the fact that one id prepared to die for ones country but the state can not take the time to offer the corpse a simple funeral. The fact that dying for ones country means so much for that person but that love from the country is unrequited; as far as the country is concerned the soldier is only another figure that can be added to the death toll. The title of the poem, Anthem for Doomed Youth has had the word anthem been put into the title as the word anthem is there to inform the reader that this is what is most likely to happen to a soldier that joins the army, that is, an anthem for their life at the army that always ends in a gruesome undignified death. The significance of the word doomed in the poem, Anthem for Doomed Youth, is that Owen is trying to convey to the reader that the soldiers are doomed for a horrible undignified death before they have even set off for battle; there is no solace or escape for those that enter the path of war. In Owens first draft of this poem the title was, Anthem for Dead Youth. This title is less striking than the title that it was later changed to which was, Anthem for Doomed Youth. The original title was less striking because it refers to the past tense, that is, the word dead. This word is not as striking as doomed because if the soldiers are already dead the reader will not feel personally connected, hence, will not evoke as strong emotions. They way that Wilfred Owen uses the word doomed in order to suppress the number of people joining the army, Rupert Brooke and Alfred Tennyson use language for the opposite effect, to promote going to war. For example, in the poem, The Soldier by Rupert Brooke, the line if I should die comes to mind. The word if is used in this poem for contrasting effect to the word doomed in Anthem for Doomed Youth. The word if is used to play down the idea that he will even die on the battlefield, hence, it is being used for an optimistic effect, in complete contrast with what Owen is aiming to achieve with his use of language. Owen is aiming to achieve a pessimistic attitude to war amongst people and Brooke is trying to increase optimism amongst the population. Lord Alfred Tennyson, also, uses his language for an optimistic attitude of war to be achieved. For example, into the jaws of death is used instead of describing their death. This metaphor takes attention away from the death and does not even include details of deaths; all this positive language is used to give the reader an optimistic attitude towards war. This is the opposite to what Owen is trying to achieve using negative language. The poetry of Wilfred Owen is very rich in imagery. For example, in Anthem for Doomed Youth, very vivid images of a Victorian funeral and death on a battlefield (which are the two scenes compared in the poem) are portrayed using many different poetic techniques. The comparison of death on the battlefield and a Victorian funeral are composed through metaphors In the first stanza of this poem, imagery as well as sound are used to great effect in painting a picture of death on the battlefield An example of this would be, The shrill, demented choirs of wailing shells, the metaphor of a shell being a choir, this helps to paint a vivid picture in ones mind of what it is like on a battlefield and what a soldier must feel like to die on one compared to an ordinary funeral, two different types of wailing are meant by the word in this quotation, one would be the wailing of the shells and another the wailing of relatives grieving. Sound is used to great effect in that very same quote as the words shrill and choirs work very well together to help the reader to get a greater sensory feel for the situation. Brooke also makes a jibe at Victorian funerals, No mockeries for them, essentially he is trying to call the ceremony of a funeral a complete mockery as well as comparing the two different types of death. The use of onomatopoeia is also employed in the first stanza, for example, stuttering rifles rapid rattle and wailing shells, these two uses of onomatopoeia help to further build up imagery of the situation in the mind of the reader and alliteration is also used when describing the rifles, this increases the tempo of the line to further add onomatopoetic effect to the rifle. That imagery puts across to the reader an image of the most undignified death, and shows the reader that once a soldier has dies, nothing will stop for it, not even to pay respects; their death is undignified, painful and gruesome. Through imagery Owen is trying to convey to the reader that war is not noble, that it is never glorious for either party and that death on the battlefield is meaningless. The second stanza talks about the inability of those left behind to mourn and metaphors now deal with visual comparisons between a conventional funeral and death on the battlefield. The way Owen does this is that he uses metaphors to provide images of those left behind unable to grieve. For example, Not in the hands of boys, but in their eyes shall shine the holy glimmers of goodbyes. This is strong emotional imagery through which Owen helps the reader to understand what it was like to grieve somebody but not be able to have any contact with that person, even a best friend could be killed and nobody would be able to pay their last respects. No sound is used in the second stanza to accompany the imagery that is put across to the reader. The imagery, on the other hand, is still powerful enough to give the reader a vivid idea of what is happening in the poem. Much of Owens poetry is based upon evoking the senses of the reader and allowing the reader to experience, in some way, the horrors that the soldiers faced. For example, Owen begins the poem with hard striking words that the reader may be shocked at, for example, Only the monstrous anger of the guns. As the poem progresses though and we enter the second stanza a sense of serenity creeps into the poem, for example, Their flowers the tenderness of patient minds. This is a serene line and the difference between these two stanzas is that one uses hard, violent language whilst the other uses serene language. This is the difference in terms of death on a battlefield and a traditional funeral that Owen was referring to. The differences between the two deaths is that death on a battlefield is violent and brutal and nobody has time for last respects but with a traditional funeral it is serene and everybody gets time to grieve, these two styles of death are mirrored in the style of writing in both stanzas. .ufcc3862d229623a69d5dc2fef9b5378e , .ufcc3862d229623a69d5dc2fef9b5378e .postImageUrl , .ufcc3862d229623a69d5dc2fef9b5378e .centered-text-area { min-height: 80px; position: relative; } .ufcc3862d229623a69d5dc2fef9b5378e , .ufcc3862d229623a69d5dc2fef9b5378e:hover , .ufcc3862d229623a69d5dc2fef9b5378e:visited , .ufcc3862d229623a69d5dc2fef9b5378e:active { border:0!important; } .ufcc3862d229623a69d5dc2fef9b5378e .clearfix:after { content: ""; display: table; clear: both; } .ufcc3862d229623a69d5dc2fef9b5378e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufcc3862d229623a69d5dc2fef9b5378e:active , .ufcc3862d229623a69d5dc2fef9b5378e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufcc3862d229623a69d5dc2fef9b5378e .centered-text-area { width: 100%; position: relative ; } .ufcc3862d229623a69d5dc2fef9b5378e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufcc3862d229623a69d5dc2fef9b5378e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufcc3862d229623a69d5dc2fef9b5378e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufcc3862d229623a69d5dc2fef9b5378e:hover .ctaButton { background-color: #34495E!important; } .ufcc3862d229623a69d5dc2fef9b5378e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufcc3862d229623a69d5dc2fef9b5378e .ufcc3862d229623a69d5dc2fef9b5378e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufcc3862d229623a69d5dc2fef9b5378e:after { content: ""; display: block; clear: both; } READ: Philip Larkin EssayWilfred Owen uses vivid imagery and carefully worded poems in order to help the reader experience the true realities of war. Through these images Owen puts across to his readers that war is not glorious and that war is not what everybody thought it to be, Owen portrays this well through the use of wordplay, sound and imagery. The pessimistic language that Owen uses has a very strong effect on the attitude he paints towards war, as does the optimistic language used by Tennyson and Brooke have strong effects on the attitude they paint towards war. Owenss overall attitude to war was that war is horrific, inhumane but that there was also tremendous love and loyalty between the soldiers, this is shown in the line, But in their eyes shall shine the holy glimmer of goodbye. This line shows that the soldiers who fought side by side had feelings for each other and could not bear to watch their friends die in this fashion. Even though Owen portrays war as horrific and undignified and inhumane, the fact that soldiers were so loyal to one another may have been the one beautiful thing Owen saw in war. This view of gratitude towards loyal soldiers is shared by Lord Alfred Tennyson. In the poem, The Charge of the Light Brigade, Tennyson writes, Theirs not to reason why, theirs but to do and die. This line showed that the soldiers obeyed commands even though they were wrong and threatened the lives of the soldiers. This shows incredible loyalty to their officers and the army. One of the only parallels between the views of Tennyson and those of Owen is that they both agree that the soldiers who go to war are brave, obedient, loyal and fearless and those are qualities both Tennyson and Owen believe soldiers have no matter what their views on war they are united in respecting soldiers. Wilfred Owen also wrote another poem concerning the matter of war and this poem is called Dulce et Decorum Est. This is an extremely important poem in the context of this essay at least. It is extremely important as it incorporates the concept of the old lie as its focal point. The old lie of course being what I discussed at the beginning of this essay, that being that it is noble, glorious and dignified to die for your country on a battlefield, which the poetry of Wilfred Owen firmly dispels . The poem is divided into three sections, with each section containing eight lines. The rhyme scheme of this poem is ABABCDCD in every one of the three stanzas. There are four extra lines at the end of the poem which summarise and contain the morale of the poem which of course is to do with dismissing the old lie as fiction, My friend, you would not tell with such high zest to children ardent for some desperate glory, the old Lie: Dulce et Decorum Est Pro Patria Mori. Like Anthem for Doomed Youth, this poem is based on imagery that evoke the senses. There are many uses of similes and metaphors in this poem which leads to a vivid visual painting. For example, in stanza one, Coughing like hags, we cursed through the sludge. This line uses a metaphor and a simile to great effect to convey the conditions the soldiers were in during battle. Another example of the excellent imagery formed through the use of similes and metaphors, this time from the second stanza, and floundering like a man in fire under a green sea, I saw him drowning. This shows great use of a pointed effect using a simile and the metaphor of the soldier drowning contributes to the vivid imagery Owen uses to paint images in your mind. The imagery in this poem is of a very different tone and nature compared to the imagery in the poetry of Rupert Brooke and Alfred Tennyson. For example, in The Soldier, serene peaceful language is always being used even though the poem is set in a battle situation, for example, A body of Englands, breathing English air. This sentence turns the scene of a dead corpse, through the use of euphemisms and serene language, turns the sentence into a serene and even patriotic scene. Tennysons imagery produced through The Charge of the Light Brigade also contrasts to the imagery produced by Owen. For example, Dulce et Decorum Est uses heavy and gruesome imagery to paint a vivid and realistic image of death whilst, The Charge of the Light Brigade, uses language to the opposite effect, in order to euphemistically describe death, for example, While horse and hero fell. This line euphemistically describes death on the battlefield and also imposes the impression of the old lie upon the reader. In the first stanza a lot of violent and blunt language is used, for example, But limped on, blood-shod. This line uses blunt and violent language. It would also appear that this language is the only entity that is driving the first stanza and without violent and blunt language the first stanza would be soulless and empty. Another example of blunt language being used in the first stanza is, Drunk with fatigue. Drunk people generally are not fatigued so that line is an oxymoron. Aside from that being an oxymoron, this is again a line that appears to be pumping energy into the energy depleted first stanza. This blunt and violent language carries the whole of the first stanza. In the second stanza the tempo is suddenly increased by a huge amount and the reader feels like they have been woken up from the slumber that was the first stanza. Owen may have used this technique in order to allow the reader to see how quickly the soldiers could have been put under attack into a life threatening situation. To give an example of the change in tempo, the last line of the first stanza was carrying on in a hypnotic rhythm, Of gas-shells dropping slowly behind. This line is very slow and calm, but the first line of the second stanza is, Gas! GAS! Quick boys! -An ecstasy of fumbling. This change in tempo shows the reader of the poem how alert to attack these soldiers had to be at any moment and how reacting a second too late could cost them their lives. In this poem, Owen always addresses the reader as you. This is important because it helps the reader to appreciate this as a piece of writing that is set in the present tense and as Owen directly talks to the reader, this may coax the reader to concur with Owens views and help to eradicate the old lie from their mind. This may also help the reader to empathise with Owen, as if Owen were making some kind of plea. Referring to the reader directly may also have the effect of making the reader think more about the morale of his poem as Owen had referred directly to the reader, essentially the reader get more involved in the poem and is more likely to act on the words of the poem than to dismiss it. In the third stanza of Dulce et Decorum Est, the metaphors and similes change dimension and become extremely sinister, corrupt and evil. This is done in order to create menacing images that would take the reader back in shock when he read the poem and would add further caused (based upon strong metaphors and similes used by Owen) for the reader to dismiss the old lie. Examples of horrific and sinister language would be, His hanging face, like a devils sick of sin. That sentence would have traumatized some readers and invoked shock in all other readers as the topic of the devil is sinister and taboo and any comparison to the devil would cause controversy. Further examples of corrupt diction, similes and metaphors would be, the blood come gargling from the froth-corrupted lungs. This particular image is of an exceptionally gruesome nature, outlining the undignified manner in which this soldier died. This vivid imagery further adds to the evidence that Owen has shown us that would cause us to oust the old lie from our minds. One more example of extreme sickening and vivid imagery in this poem is, Bitter as the cud of vile, incurable sores on innocent tongues. This sentence is especially gruesome as cud would also evoke the sense of smell which may actually make some readers want to be sick; such is the imagery and provocation of all the senses being given out by Owen in this third stanza. The diction of gruesome similes and metaphors in this poem put across such a morbid image of death on the battlefield that the reader now knows that it is no way dignified and glorious and these imageries from the text go a long way in dispelling the old lie from the minds of readers, which of course was Owens goal. Through the poetry examined it can be seen that the attitudes to war have moved from an attitude where war was seen as glorious and death on the battlefield was seen as dignified and noble. This attitude has slowly shifted towards one where war is seen as sickening and death on the battlefield was seen a undignified and that a cowardly fighter could no easily kill a much more skilled warrior from miles away and that no honour or dignity can be seen in that. Tennyson represented the view that war was absolutely glorious and that any soldier who died in battle would die a dignified and valorous death. He represented he view that war was a great event where anyone who died in battle would be rewarded and that their name would live on forever. And Brooke represented the view that war was still glorious but people were beginning to realise it was not as serene as they thought it would be. The general view of war was that it was heroic, brave, noble, glorious and dignified for a soldier to go into battle though less and less people still believed that. Owen represented the view that war was horrific and that death on the battlefield was both inhumane and undignified and that any man could kill any man without having to put up a brave fight, hence, battle has lost any honourable meaning and is sickening and there is a pointless waste of innocent lives. In conclusion, through critical analysis of poems by Rupert Brooke, Lord Alfred Tennyson and Wilfred Owen I have discovered that the general view on war has progressed from the times of Tennyson when war was considered noble, glorious and dignified. These views have progressed to the other end of the spectrum when at the time when Wilfred Owen was writing his poetry; Tennysons views were dispelled by Owen as the old lie. The modern view on war bought about through the poetry of Wilfred Owen was that war and death on the battlefield was undignified, pointless and gruesome. All these views from every poet was conveyed to the reader through literature, that is, poetry, and poetry provides a good example of how views of war have changed over time and how the old lie is now obsolete.

Tiempo máximo de estancia permitido en Estados Unidos

Tiempo mximo de estancia permitido en Estados Unidos Para evitar problemas migratorios muy serios es necesario saber y respetar el tiempo mximo de estancia legal permitido en Estados Unidos. En realidad, el monto de la estadà ­a legal depende de varios factores, como por ejemplo, tipo de visa. En este artà ­culo se informa sobre la cantidad de tiempo que un extranjero con visa de no inmigrante puede quedarse legalmente en Estados Unidos, segà ºn los casos –turista, estudiante, intercambio, trabajo o inversià ³n–. Tambià ©n se informa sobre lo que se conoce como periodo de gracia  y cà ³mo afecta a la estadà ­a legal la extensià ³n o los cambios de visa realizados desde dentro de Estados Unidos. Por supuesto, los extranjeros con una tarjeta de residencia pueden permanecer en el paà ­s el tiempo que quieran. Es ms, estn obligados a vivir en el paà ­s y sà ³lo pueden ausentarse para viajar a otro por tiempo limitado. Tiempo que turistas pueden quedarse legalmente en EE.UU. Para el caso de los turistas hay respuestas diferentes segà ºn el documento que se ha utilizado para ingresar al paà ­s. Adems surge la duda sobre si conviene agotar el tiempo permitido o es ms aconsejable salir antes.   Un primer caso es el de los turistas que ingresan a Estados Unidos sin visa. Los ciudadanos de 38 paà ­ses pueden ingresar a los Estados Unidos sin visa, si lo hacen como turistas o para un asunto de negocios. Si llegan por avià ³n o barco necesitan solicitar antes una autorizacià ³n electrà ³nica que se conoce como ESTA. Para las personas que estn en esta situacià ³n el tiempo mximo de estadà ­a es de 90 dà ­as. No hay excepcià ³n. Tampoco es posible pedir una extensià ³n. Asimismo tampoco funciona salirse a un paà ­s fronterizo, como Canad o Mà ©xico, con la idea de ganar otros 90 dà ­as.   Si se sale a uno de esos paà ­ses, se reingresa con el mismo periodo de tiempo que ya se tenà ­a, sin que se inicie otro nuevo y si ya est agotado el oficial del paso migratorio puede denegar la entrada por considerar que se est jugando con los là ­mites legales de estancia. Un segundo caso es el de los turistas que ingresan a Estados Unidos con una visa lser, tambià ©n conocida como tarjeta de cruce. Pueden tenerla los mexicanos o los ciudadanos de otros paà ­ses que residen legalmente junto a la frontera entre Mà ©xico y Estados Unidos. Las lser tienen sus propias reglas para solicitarlas, millas que se puede ingresar en el paà ­s y tiempo de estadà ­a.  Como norma general, con la visa lser sà ³lo se puede permanecer en Estados Unidos un mximo de 30 dà ­as. Si se desea ingresar por ms tiempo solicitar el permiso I-94 en el paso fronterizo. Por à ºltimo, est el caso de los turistas que ingresan a Estados Unidos con visa de turista, tambià ©n conocida en algunos paà ­ses como de placer o de paseo o como B2 o la combinada B1/B2. El tiempo mximo de estadà ­a lo fija el oficial de la CBP en el puesto fronterizo terrestre, puerto o aeropuerto.   Aunque es muy comà ºn que se permita el ingreso por 180 dà ­as, eso no es siempre asà ­ y puede ser por mucho menos. Este dato hay que tenerlo claro. Y si no se sabe, consultar el registro de ingreso y salida en la pgina de la CBP. Asimismo, no se debe confundir jams el tiempo de autorizacià ³n para permanecer legalmente en Estados Unidos con la fecha de expiracià ³n de la visa, ya que son dos cosas muy distintas.   Conveniencia de quedarse en EEUU todo el tiempo autorizado Frecuentemente los turistas se plantean si es buena idea permanecer en Estados Unidos hasta agotar el plazo legal de estancia. Lamentablemente, a esa pregunta no hay una respuesta à ºnica, ya que va a depender del caso de cada uno. Lo importante es que el oficial de inmigracià ³n en el punto de ingreso a los Estados Unidos no tenga ninguna razà ³n para sospechar que la estancia en el paà ­s ha sido o va a ser por motivos distintos al turismo. Hay que evitar dar la impresià ³n de que se estn desarrollando actividades no permitidas con la visa, como por ejemplo estudiar, trabajar o, simplemente, residir. Antes de quedarse ms tiempo del permitido es necesario saber las consecuencias, ya que pueden ser muy serias. Asimismo, conviene saber con quà © frecuencia se puede ingresar al paà ­s para evitar ser parado por las autoridades migratorias y ser regresado al paà ­s de origen. Cunto tiempo se puede permanecer en USA con la visa J-1 Las visas J-1 de intercambio comprenden una gran variedad de programas. La regla general para las personas que tienen estas visas es que se pueden ingresar a Estados Unidos un mximo de 30 dà ­as antes de iniciar el programa y se pueden quedar durante la duracià ³n regular del mismo, que est seà ±alado en el DS 2019.   Una vez que se termina se tienen 30 dà ­as de periodo de gracia para dejar Estados Unidos. Durante ese mes se puede viajar, si asà ­ se desea, pero no se puede seguir participando en ninguna actividad relacionada con el programa.   Estas reglas aplican tambià ©n a los familiares de las personas con visas J-1 y que estn en USA como dependientes. Tiempo de permanencia visas F-1 y M-1 de estudiante Con cualquiera de estas dos visas de estudiante se puede ingresar a Estados Unidos un mximo de 30 dà ­as antes al comienzo del programa. Sin embargo siguen reglas distintas para el periodo de gracia. Los titulares de visas M-1 deben salir del paà ­s en un mximo de 30 dà ­as desde la finalizacià ³n regular del programa mientras que los de la F-1 tienen un mximo de 60 dà ­as desde la fecha de finalizacià ³n regular del programa. Tiempo de permanencia para los titulares de visas H En esta categorà ­a entran las H-1B para profesionales y modelos, las H-2A para agricultura, las H-2B para trabajos temporeros no agrà ­colas, las H-3 para formacià ³n profesional y las H-4 para familiares de los titulares de otras visa H y que estn en Estados Unidos como acompaà ±antes. Todas estas personas pueden ingresar a Estados Unidos un mximo de 10 dà ­as antes de comenzar su trabajo y el periodo de gracia para permanecer en el paà ­s una vez que se acaba el trabajo es de 10 dà ­as. Incrementar el tiempo que se puede permanecer legalmente Si se ha ingresado con una visa no inmigrante es posible solicitar una extensià ³n de la estadà ­a o un cambio a otro tipo de visa no inmigrante, como por ejemplo, un turista pasarse a estudiante.   Si la fecha de la estancia autorizada llega a su fin antes que la aprobacià ³n de la extensià ³n se considera que no hay problema siempre y cuando la peticià ³n se hubiera realizado de buena fe.   Si se ha ingresado con visa, se ha pedido extensià ³n y no es aprobada, entonces con carcter general se conceden 30 dà ­as para salir de Estados Unidos. Los dà ­as se cuentan a partir de la fecha que aparece en la carta en la que se notifica la denegacià ³n. Pero hay que tener en cuenta que cada caso es un mundo, y que en la carta se puede notificar un periodo ms corto, que es el que habrà ­a que respetar. Sin embargo, un caso muy distinto al anterior es el de las personas que ingresaron sin visa como turistas o para hacer negocios por pertenecer a los paà ­ses del Visa Waiver Program. Estos extranjeros no pueden bajo ninguna circunstancia extender la estadà ­a ni solicitar ningà ºn tipo de visa mientras estn presentes en Estados Unidos. Si bien en casos muy concretos podrà ­an quedarse mediante un ajuste de estatus como por ejemplo en los casos de matrimonio con ciudadano y cumpliendo todos los requisitos. Pero son casos muy delicados y es siempre aconsejable asesorarse con un buen abogado de inmigracià ³n.  Finalmente,  en algunos casos muy especà ­ficos es posible pedir una restauracià ³n de estatus que es lo que se conoce por la expresià ³n del latà ­n nunc pro tunc. A tener en cuenta cuando se est en un periodo de gracia Hay que pensarlo dos veces antes de salir de USA y volver a ingresar, ya que puede suceder que no se permita el regreso. Quà © sucede cuando se sobrepasatiempo mximo de estancia Quedarse ms tiempo del permitido tiene importantes consecuencias migratorias que conviene no ignorar, asà ­ sea por sà ³lo un dà ­a el exceso. Lo primero, es que la persona se coloca en situacià ³n de indocumentada y, por lo tanto, puede ser detenida y dependiendo de las circunstancias de cada caso, puede ser expulsada o deportada. En algunos casos puede ser posible arreglar los papeles, pero en otros la situacià ³n de indocumentado cierra esa posibilidad por lo que antes de hacerlo conviene informarse bien con un abogado de migracià ³n reputado. Adems, la visa serà ­a revocada ya que es una de las causas de cancelacià ³n de la visa. En el caso de haber ingresado como turista sin visa por ser de un paà ­s del Programa de Exencià ³n de visados, se pierde ese privilegio. Finalmente, es posible incurrir en el castigo de los 3 y de los 10 aà ±os que podrà ­a complicar enormemente el regreso a Estados Unidos. Puntos clave Los turistas sin visa pueden permanecer 90 dà ­as, sin cambios ni extensià ³nLos turistas con visa B2, generalmente 180 dà ­as, pero verificar con el I-94Los estudiantes con visa F-1 y derivadas: 60 dà ­as desde fin de programaEstudiantes con visa M-1 y derivadas: 30 dà ­as desde fin de programaPrograma de intercambio J-1 y derivadas: 30 dà ­as desde el fin del programaVisas de trabajo H y derivadas: cuanto antes, mximo 10 dà ­as desde fin de trabajo Este es un artà ­culo informativo. No es asesorà ­a para ningà ºn caso concreto.

Theory of Cognitive Dissonance & apply it on abortion in USA.2 Research Paper

Theory of Cognitive Dissonance & apply it on abortion in USA.2 - Research Paper Example (Chasek, 2010) Further understanding needs to be established on the theory to bring out the idea that this is a theory that is basically adopted form social psychology. From the title, individuals with basic knowledge on Psychology can draw out the conclusion that that cognitive stands for the mind or the process of thinking while dissonance stands for conflict or inconsistency. From this point it is safe to say that cognitive dissonance comes as a result of psychological conflict arising from upholding two or more parallel beliefs that work in an incompatible mode. This theory has been embraced by the experts in many fields by molding it to fit into their own requirements. An example is in the field of communication alongside various other disciplines. . (McLeod, 2008). This theory is quite the famous one because it manages to displace all forms of previous engagements in form of conditioning by completely viewing as rather purposeful decision makers by majorly opting to balance the beliefs. The mind should therefore be conditioned in such a way that in case one is presented with decision making situations that create dissonance, then one is supposed to apply strategies of dissonance reduction so as to basically regain relevant equilibrium mostly in situations whereby the decision making would have great effect on the self esteem of the individual involved. (Barker, 2003) The theory of dissonance applies in various situations that involve the change of attitude and its formation. The theory has the capability of manipulating individuals to embrace certain behaviors so as to influence the people to change their own attitudes. This quality makes the theory and the thoughts around it relevant for problem solving and decision making. A real life situation as an example is a situation whereby a driver holds on to the beliefs that he does not require seat belts when driving. Then the reality dawns on him when he gets the news that a friend had an accident and lost h is life simply because he had no seat belt on. The dissonance of this driver may possibly be reduced by actually completely altering behavior and hence starting to apply the use of the seat belt because he now finds it necessary to avoid impending implications that may rise if he doesn’t use it. The driver can also embrace the idea that he needs to find an alternative since his hatred for the seat belts in general could still be outstanding. Then he may seek relevant information on available alternatives in the market and fall for the airbags. Therefore the impetus to actually bring dissonance down majorly relies on the amount or magnitude of the held dissonance (McLeod, 2008). The dissonance in us is mostly always important and stronger when we have a belief about something that we hold dear but we go ahead and do something completely parallel to that belief. An example is when we believe that somebody is good, the he goes on to do something that is really bad, then what we have in the mind is cognitive dissonance that results in the kind of discomfort we feel from the entire idea. Dissonance will increase perpendicularly with the level of importance that we give to a certain subject, the strength by which the two conflicting feelings or thought feel the parallel forces against each

How to Assess Information and Knowledge Needs and Be Able to Create Essay

How to Assess Information and Knowledge Needs and Be Able to Create Strategies to Increase Personal Networking - Essay Example The decision to accept the contract will lead to a decision to employ extra 100 workers in order to cope with new conditions of work. Donna (2008, P. 205) claim that the desire to diversify the business may lead to evaluation of resources to be used to pay the extra employees. Since, the business was operating before with 50 employees that show financial decision will be required to solve the problem. The business will make pricing decision of the services offered to customer in order to cater for the payment of the extra employees, and the extra hours that the workers will work will be required to be financed. It will not be easy to make some decision like that of pricing because it will bring conflict from customers who will be also affected in case the management opts to increase the price of services. To employee the additional workers, the management will be required to determine the availability of the potential candidate. The business should make sure to follow up the socializ ation of the new workers into the venture to ensure the decisions success. Lack of inadequate space to accommodate extra workers and the issue lease, the management should make a decision operate in shift for the time being as they wait to solve the issue of a lease and space. This move will be difficult to manage, but every business with an aim to maximize profit should be ready to accommodate risks involved with urgent decisions making. The management should evaluate the productivity of the contract to ascertain if it will meet the decision made to accommodate the venture in order to enhance the profitability. (P1.2) To ensure effectiveness of the new contract the framework within which these decisions making can be incorporated must be identified. The management should gather enough information on the viability of the contract depending on the current situation of the business. Past knowledge of the revenue trend of the services should be required in order to forecast the possibi lity revenue of the new venture. The profit trend will ascertain whether the customers should increase the price of services or reduce the wages of the employees in order to employee extra 100 workers to accommodate the operation. Before accepting the contract, the outsourced call centre should use digital media like facebook and the internet to search for the financial position of the Samsung. The management should be aware of the agreement and conditions of the lease term to avoid causing problems that would affect the operation. It should know if it is at position to renew the lease terms to continue operating on the same premises, or it has to relocate. According to the current situation of the business renewing the lease will not solve the problem of the inadequacy of the space but it will cause congestion. It should search for new premises to relocate so that the extra equipment can be accommodated that will enhance the productivity due to the maximization of the resources. (P 1.3) The decision taking requires the company to research both internal and external sources of information and understanding. According to John and Claudia (2005, P. 45), the availability of the internal data of the past performance makes possible for the business to extract accurate and complete knowledge. Evaluating these data will help the business to tell if it at position to employee extra employees given the unlimited space of

Skills Development for Child Nursing Course

Skills Development for Child Nursing Course Provide an in-depth reflective account that demonstrates how learning, during the three years of the child nursing course, has been achieved in relation to two areas of your practice which has informed and enhanced your development towards qualification as a Childrens Nurse. Introduction Reflection is a vital component of the development of nursing competence and reflexive nursing practice. Although reflection functions on many levels, including the personal level, in allowing student nurses to review experiences and incorporate them into their internal schema, one of the most important levels of reflection is the process of asking questions about practice, and through asking those questions learning about the self in practice, and the role of the nurse (Bowden, 2003). Reflection is an important aspect of developing competence in practice, as well as developing practice itself (Durgahee, 1998; Gustafsson and Fagerberg, 2004). Some authors view the ability of the nurse to reflect on practice and in practice as a fundamental component of providing truly holistic and client centred care (Gustafsson and Fagerberg, 2004), while others view reflection as a self-limited, flawed and biased practice which is of little or no use to developing nursing professionalism (Jones, 19 95). I believe that reflection, if properly used and structured, provides powerful insight into the self, into practice, and into the ways in which competence and practice develop over time and through experiential learning. Therefore, I have concluded that to make reflection effective and useful, it is important to use a reflective model, such as that of Gibbs (1988), which I have chosen for this essay. Although there are limitations to Gibbs’ (1988) model, particularly in applying it to the requirements of this essay, it provides clear guidance and useful questions to ask about the experiences that contribute to the reflective process. I have adapted this cycle to suit the processes and analyses of this essay, and so, while two cycles of reflection are outlined below, the conclusions are developed collectively. For the purposes of this essay, the final stage of the cycle is to be found within the Appendix (see Appendix 1), and thus the Action Plan is adapted to become the P ersonal Development Plan. The purpose of this essay is to engage in an in-depth, detailed process of reflection on two areas of practice and learning that have been important to me through my studies in the three year child nursing course. Using a reflective cycle to guide and direct the reflective process, I will explore the process of professional development, towards competence and expertise, in relation to Benner’s (1984) stages of development, examining the nature of competence in each designated area of practice. The first chosen area of practice is the skill of managing an intravenous infusion, because the use of intravenous infusions and the provision of intravenous medications is an important component of many clinical paediatric nursing scenarios, and the management of intravenous access and infusions is particularly problematic when nursing children. The other area of practice and nursing professionalism chosen is communication, with a particular focus on the development of communication skills with staff, in relation to the nursing handover within the acute hospital environment, and the development of communication skills with patients, using the example of providing health education and promotion for a patient with Type 1 diabetes. I have chosen to focus on specific examples of communication skills in practice because these relate strongly to my own experiences, and also allow for a deeper and more critical analysis of practice and my own development. This will also allow for a more co ncrete development of a personal development plan to encompass identified development needs and actions to achieve these during the first six months of practice as a Registered Children’s Nurse. The focus on critical analysis allows for the development of a skill of great value for my professional practice, deconstructing practice and reviewing it in the the light of other knowledge (Burns and Bulman, 2000). However, because of the complex nature of practice, and the reflective processes which question feelings and thoughts as well as actions, the reflective process is complex (Wilkinson, 1999). Thus, although there are two issues being reflected upon, they are drawn together in one discursive thread which signposts the learning and development, the acquisition of professional understanding, which signifies the transition from novice to competent practitioner. Discussion 1. Clinical Skill Development: Intravenous Infusion and Medication Management in Children’s Nursing Practice. Description: What Happened. During the three years of nurse training, the development of the skill of managing intravenous infusions, either of hydration solutions or of medications, was one which I developed almost from the beginning, when it was taught as a clinical skill in the university setting. The typical approach to teaching clinical skills was to provide the students with a lecture on the relevant theory, complemented by a practical skills session to apply the knowledge in a simulated environment, utilising mannequins. Every acute ward area of my clinical practice involved the care of patients with intravenous infusions, which included caring for children while the intravenous cannula was inserted, and then monitoring and care of the intravenous cannula site, and of the infusion itself. This skill was therefore not only a basic skill for nursing competence throughout my training, but also an important opportunity to promote health, prevent infection, and was fundamental to other aspects of care and tre atment. Over the three years, I first learned how to set up an intravenous infusion, safely and in a sterile manner, how to check the infusion, and how to check the infusion rate manually (ie, without the use of an infusion pump, although infusion pumps are standard best practice in children’s nursing). During clinical practice, I learned how to support a child during the cannula insertion, monitor the site, check the infusion and infusion rate, set up and check different types of infusion pumps, and how to change the IV line (which must be changed regularly). I also learned complementary skills such as drug and dosage calculations for infusions, and fluid balance calculations, both of which required numeracy skills Feelings: what were you thinking and feeling? Throughout my training, management of intravenous infusions was stressful, but in particular, the associated aspects of care were challenging. Supporting children who have intravenous infusions is problematic, particularly as the experience is often painful and distressing for them. Carrying out drug calculations was terrifying at the beginning of my training, and even by the end, despite increased competence and confidence, I would still have more than one colleague check calculations and dosage rates, and check infusion rates on pumps, to ensure I had made the correct calculations. I felt very lacking in confidence in this area. I also felt that while I focused on safety aspects of IVI use, including risk management and prevention of infection via the IV site, other colleagues did not seem to pay so much attention to this aspect of care. Evaluation: What was good and bad about the experience? It was good that I identified important aspects of this clinical skill, and the complexities of practice surrounding it. What was not so good was the lack of transparency in colleague’s practice, particularly in my earlier clinical placements. Analysis: What sense can you make of the situation? I became aware during my reflection on this element of my learning that it was very much something which became assimilated into the almost intuitive elements of nursing competence (Benner, 1984). This was because apart from the elements of the process which had been identified as distressing for the child, such as cannula insertion and removal, managing the IVI had become ‘second nature’, and checking the line, site and rate of the pump were activities that the qualified nurse carried out without any overt signifying of the action, as part of her interactions around the patient/bedside. Thus, making this overt was almost counter-intuitive. Certainly, it appeared to me that many staff did not record these observations every time they were made, and that they did not always communicate these observations to others, including me, as a student. As a student, a learner, I was required to take more time over such observations, to note their significance, and to evaluate their place within my nursing work. I was required to develop specific skills around the use of IV infusions and the management of whatever medication or fluid was being infused. This was a protracted learning process, which developed throughout the three years. I learned the importance of this for my practice. â€Å"Possible complications associated with short peripheral venous access include infiltration of infused fluids (nonvesicants) into the surrounding tissue, extravasation of vesicant medications or blood into the surrounding tissue, and phlebitis† (Hinkle and Hadaway, 2006 p 122). The clinical skill here also, therefore, included the component of determining when such complications had occurred. I also had to learn to observe for infusion reactions, which could range from mild to severe (Hinkle and Hadaway, 2006). Competency can be viewed as behaviours which are achieved or approved of in relation to the completion of a task, and competency is described in relation to that task (Gonczi, 1993). However, developing competence in IVI management is much more than simple task proficiency, and this may be true of much of professional competence in nursing (Preston and Walker, 1993). Not only does it appear that no single clinical requirement can be reduced to single task, but also, competence in that task may be affected by other contextual factors, including the presence of others, and how their contribution or lack of it can affect performance of clinical actions (Ashworth and Saxton, 1990). If we view competence as the ability to manage any situation holistically, making use of collaboration with colleagues (Meretoja et al, 2002), then even this process of reflecting on a clinical skill is very limiting, because the skill alone does not signify the whole of the learning process associated with th at area of practice throughout my training. One of the important elements of learning around this particular skill, however, was the gradual recognition of my own competence, which was signified most clearly when I no longer become ‘overt’ about assessing the IVI and monitoring it, but carried out this activity as part of my practice, almost automatically. Here, the skill had many facets, but this kind of ease was never achieved with the drug/dosage/infusion rate calculations. Numeracy competence is important for nurses, and nurses are required to demonstrate acceptable levels of numeracy in order to qualify (Bath et al, 1993). However, this was an area I struggled with, not because I had ever considered I had difficulties with numeracy, but because applying numeracy to clinical situations seemed to make drug calculations much harder. Over time, I found that if I visualised the calculations myself first, and wrote them out longhand, then checked them with a calculator, I usually reached the right conclusion, which showed that my own learning style influenced my ability to come to the right answer(Bath et al, 1993; Galligan, 2001). Hinchliff (2004) descrives Bloom’s (1972) learning domains, and this learning experience, throughout the three years, involved all three areas: cognitive, psychomotor, and affective. In relation to the cognitive domain, I learned knowledge to underpin practice, consolidated this knowledge over time. In relation to psychomotor skills, these were about the practical ability to carry out necessary procedures and actions, including running fluids through an IV line, identifying, choosing, priming and setting up the correct line for the correct infusion pump, and the skills around removal of the cannula and dressing of the cannula after insertion, along with changing an IV bag. The affective domain refers to the attitude formation, which can be seen above to be about a positive attitude but an internalisation of much of the knowledge and practice to the point that aspects of these procedures became almost innate. It became apparent that this clinical skill could not be viewed in isolation, and also incorporated a great deal of discussion with the family and the patient, and in the case of most children, informing them of the need to take care of the IV line, and educating them about infection control, thus engaging them in their own care and in their own health promotion (Long et al, 2008). Prevention of trauma to the IV cannula or site, and ensuring maintenance of patency of the cannula and line, are important in minimising the amount of times the cannula needs to be resited, which is desirable because of how distressing this procedure is for most babies and children (Thomas, 2007). I became aware of this after viewing resiting of cannulae in a number of patients, most often due to either traumatic accidental removal. 2. Professional Skill Development: Communication in Practice: The Nursing Handover. What Happened During the three years of training, communication was identified as a professional skill, and it soon became apparent that this skill formed the basis of the majority of nursing actions and roles. Because of the complexity of communication in nursing practice, during this reflection I chose to focus on one aspect, that of providing handover for a designated patient, or group of patients, under my care, to the nurse taking over care. Engaging in this activity was a significant aspect of my development. Initially, in the first clinical placements, I observed this taking place, but did not really understand all the components of the process. Over time, I was encouraged by mentors to provide the handover report myself, and I found this demanded communication and information processing skills perhaps unique to the process and to the situation. I discovered that I needed to know the terminology and abbreviations used, the format of the report, and to remember the patient information and pr ovide a comprehensive report that did not omit important elements of care. During the initial experiences of this, I did miss out elements of care, but was always supported by a mentor who could augment my limited report and ensure patient needs were communicated. However, by the end of my clinical experiences I was expected to provide reports myself, and I did so, but became increasingly aware of the limitations of this form of communication, and of how it had become ritualised in practice (Strange, 1996). Understanding the nature of this element of communication became an important element of my learning, perhaps because I had found it so difficulty initially Feelings: what were you thinking and feeling? During successive experiences of handover, I came to a growing realisation that the format and nature of the handover report was not only extremely ritualised (Strange, 1996), but also constituted a unique form of communication, with certain expected behaviours and standardised formats. However, I started to feel, quite early on, that information was not necessarily being fully communicated, and I found myself increasingly frustrated with the process, because instead of providing a comprehensive report, it was more a kind of focused tick list of tasks, which did not really relate to my concept of holistic approaches to nursing care. I found myself learning how to give a ‘proper’ handover but wishing I could give a ‘good’ handover. Evaluation: What was good and bad about the experience? The good aspects of this experience were the fact that I was able to identify what was happening, and able to realise that I was frustrated with the process of handover, and the way it had become habitual. This prompted me to explore the evidence base surrounding this important aspect of nursing communication, which then enhanced my understanding. However, to cite what was bad about the experience, I must focus on the limitations of the process, because it made me feel that the handovers were, quite often, inadequate, and very limited, reducing patients to a list of problems and actions. Having said this, it also became apparent that handovers conducted at the patient’s bedside were an entirely different entity, and that communicating at the bedside included the patient and their family in the handover, and made them much more holistic and comprehensive. But it may not be appropriate to do this in all situations. Analysis: What sense can you make of the situation? Developing professional skills is part of the complex acquisition of nursing competence, and this process can be viewed as an apprenticeship of sorts (Benner, 1984). Much of the professional competence that is assessed during nurse training is related to the standards set out by the Nursing and Midwifery Council (NMC, 2004), and are realised through a process of learning, negotiation and assessment which predominantly occurs through clinical practice. While a lot of this learning is directed and planned, development is through experiential processes, as in this case, in the development of the required verbal communication skills for providing ‘handover’ report. This emerged as a significant area of practice for me, particularly in relation to responsibility and autonomy after the transition from student nurse to staff nurse, because of the different expectations of the latter role. While in relation to performance, clinical skill and professional skill, the senior studen t nurse and the newly qualified staff nurse are similar, in relation to role and responsibility, and expectation, there is a sudden shift and competence takes on new meaning for the newly qualified nurse (Wade, 1999). Thus, I can see that my concerns about the nursing handover, and my ability to provide an appropriate, comprehensive report, were very clearly linked to this notion of responsibility, because a poor handover could impact on patient care (Sexton et al, 2004). The nursing handover report is a process which involved the communication of key information about patients on the ward, care plans, actions and imminent needs, and about the stage of their care journey (McKenna, 1997). It usually occurs as a communication between nurses at the point of shift change (McKenna, 1997), but it can also take place when a patient is transferred from one clinical area to another. According to Hopkinson (2003) the nursing handover is an important and significant activity in the hospital setting, relating to the proper management of care and the provision of continuity of care (Kerr, 2002). Although handovers have the same basic function, I have observed that they can vary from ward to ward, but that within each location, they seem to have a certain format or shape. While in some areas tape recorded handovers are used, in others, the staff provide a handover at each bedside. More commonly, handover occurs in a designated room (to ensure confidentiality), and may then in some circumstances be followed by a ward round to introduce the next shift to the patients and their family. It is important to include the family in this communication, because most sick children are accompanied by a parent or carer during their stay in hospital, for a large proportion of the time. The nurse may either hand over the care of one patient, a group of patients, or the entire ward, if they have been the nurse in charge of the ward for that shift. This requires that the nurse providing the report must have a thorough and comprehensive knowledge of the patients, their needs and diagnoses, trea tments, and any pending results or procedures. Not only is it a process of communicating this information, it is also the time when colleagues might ask questions about care, and therefore also serves to demonstrate what the nurse has achieved, or not achieved, during the preceding time period, and tests the nurse’s knowledge of the patients. Yet some evidence suggests that handovers are limited and undermined by forumulaic approaches to providing the information, by incomplete communication, use of cryptic terminology, jargon and abbreviation, and can require that nurses have ‘socialized knowledge’ in order to understand them (Payne et al, 2000). Thus, it can be difficult for the student, or even the newly qualified staff nurse, to fully understand this communication because they perhaps are not fully socialised into the clinical area. Terminology and units of language may acquire different significance in specific areas of practice (Payne et al, 2000). Another identified limitation is the tendency to prioritise biomedical and physical aspects of care, reducing the patient to their disease and its treatment (Payne et al, 2000). The handover forms the initial part of the process of care planning for the nursing staff taking over care, although this is supplemented by a thorough examination of the patient records, and discussion with the patient and family. Having observed and participated in such processes, it is understandable that this communicative act developed some significance for me in relation to professional development, particularly in relation to future practice as a qualified staff nurse. Competence takes on new meaning at this transition (Amos, 2001; Ashworth and Saxton, 1990), because it signifies the point when I have to become responsible and accountable for my own actions, with no one else to cover any inadequacies or mistakes (Gerrish, 2000). Because it is viewed as a fundamental component of good quality nursing care (Pothier et al, 2005), ‘getting it right’ is understandably important. Handover can be viewed as a communicative act from a number of perspectives. It provides a forum for discussion, debate and questioning, as well as expressing one’s views and feelings about a particular case or cases (Hopkinson, 2002), which to me suggests that it is more than simply the presenting of information, but is also a form of self-expression for the nurse. However, it’s main purpose is to provide the information that nurses will then use to formulate their plans for care and their prioritisation of their workload for that shift (Hopkinson, 2002). For example, in one handover a colleague did not inform staff that a chest X-ray had been carried out, which meant that the next shift ordered another chest-X ray with resultant delays and confusion. Providing a good quality handover may be more significant than ever in the current clinical paediatric nursing environment, where every aspect of healthcare appears to have become more complex, requiring more multiprofessional input and collaboration, and in which patients are subject to complex and multifactorial assessments (Pothier et al, 2005). There is some evidence to suggest, however, that important patient information can be lost during the shift handover (Pothier et al, 2005), which reinforces my own conclusions about this communication. This may not, however, be due to simple acts of omission, but also due to the culture of ward areas and the ways in which nurses behave and exercise power, albeit a small degree of power, over the information they possess (Hardey et al, 2000). Some research suggests that the handover process is where tensions an institutionally-derived conflicts and drivers for nurses can become evident (Parker et al, 1992). It would seem that it is more tha n a simple process of dialogic communication (Kerr, 2002), but also serves a range of other functions, including social and protective functions (Strange, 1996). To me, this knowledge and understanding of the deeper and wider aspects of communication, of what is being communicated, how and why, during this process, signifies the journey of learning and development as a student nurse. Initially, I was the novice, viewing this process as a mere interchange of key information. Gradually, however, I developed an intuitive knowledge of the handover and its communicative role, intuition based on experience and on the processing of a range of cues and sources of information (Benner, 1984), leading to a degree of awareness that the handover signified more than simply an exchange of facts. It demonstrates competence in communication, but in adherence to cultural roles and expectations, and the ability to mange the competing demands and tensions of the nursing role (Kerr, 2002). Thus it empha sises a shared valued system amongst the nurses within the given context (Lally, 1999), which in some ways can demonstrate competence and acceptance, of me by qualified colleagues, signifying I have achieved nurse status, but also which can mean an enforced compliance with local behaviours and expectations which may be at odds with my own philosophy and principles of professionalism. Therefore, I realised that the communication skills of the nursing handover are both verbal and personal, involving managing myself, managing information, and managing the work environment and my colleagues (Lathlean and Corner, 1991). Achieving competence in the effective verbal communication skills associated with the handover is problematic, because from all that I have learned through my education, and my exposure to the ideals of professional nursing, the handover should be a detailed, comprehensive communication delivered without jargon or abbreviations, and which is inclusive of the patient and their carers. However, the conventions of the handover in different areas may oppose this. This is an area of development identified as important for my personal development plan. Conclusions The first conclusion I draw from this reflection is that it is impossible to see any area of nursing competence, or any clinical skill, as a discrete entity or area of practice. Every skill and professional role is inextricably linked with others, with aspects of practice, with other skills, demonstrating the complexity of practice and of the learning and development processes which lead me towards expertise and confidence, as well as basic competence. As I have demonstrated above, managing an intravenous infusion involved a range of skills and actions, including numeracy calculations, risk management and prevention, health promotion, patient support and education, care planning, and communication. Thus, it becomes evident that what may be identified as a discrete clinical skill intersects with multiple areas of practice and competence. This perhaps reflects holistic models of nursing, because it demonstrates that the nurse cannot deconstruct practice to such an extent as to make it fully task oriented, due to these intersections and the interconnectivity of different tasks. It would appear, from my reflections, that the ideals of ‘holism’ which are expounded in relation to nursing ideologies and philosophies can be viewed on the ‘micro’ level in practice, as well as the ‘macro’ level of the nursing philosophy. Every part of clinical practice is an element of a complex, yet connected, ’whole’, and therefore, competence in every part of practice is important in order to provide optimal standards of care in every respect. This is an important realisation for me, and one which I believe to be appropriate for this stage of my development. It might be that coming to this realisation earlier on in my professional development journey would have been too overwhelming. Coming to this realisation now, when I can signpost my own learning, development and competence, is more motivating than challenging, because it underl ines my commitment to providing the best possible care that I can, which in turn must be based on ongoing professional development, diligence and a focus on the patient’s needs. The second conclusion I draw from my reflective processes is that while a reflective cycle can guide reflection, it cannot provide the answers to the questions that are raised. The value of reflection lies in the ability to take those questions, answer them honestly, and to seek out the knowledge and information required to explore those answers in relation to practice as well as in relation to the self. As with my previous point, the process of professional development has led me to understand my role as one aspect of a greater whole, a complex network of professionals and roles, where roles and activities may overlap, but where the competence of each individual contributes to the whole, and where, if one component is missing, or lacking in some way, the whole is affected. If my communication skills are insufficient, this affects the work of others, their ability to meet patients’s needs, which impacts, sometimes significantly, on patient wellbeing and the patient experience. For children, who are perhaps the most vulnerable patient group, the impact is likely to be greatest. Therefore, reflection is no mere academic exercise, it is the means by which I can remind myself of my place within this network, and value my contributions whilst also appreciating the responsibility of my future position. Again, this is a motivation to provide excellence in practice, to ensure the continued quality of the whole. While the development of nursing expertise is viewed as a foundation to professionalism (Hodkinson and Issit, 2004), I would argue that expertise is still poorly defined because in nursing it is very complex, and the intersections of various domains of practice are blurred, such that, for example, clinical skills are inseparable from other skills. Personal effectiveness in the nursing role may be more important in terms of professional development (Hodkinson and Isset, 2004). There are implications of this, however, for my role as a newly qualified staff nurse, because the change in expectations (on my own part and on others’), may lead to challenging transitions and some degree of reality shock (Evans, 2001). My reflections here have identified the fact that the socio-occupational integration into my qualified role is probably the most problematic (Evans, 2001). However, it is apparent that having engaged in a good degree of reflective practice throughout my training, I have developed the skills to be able to analyse and reflect upon experiences and situations, and to take this reflection further, by applying theory and evidence to my own practice. This requires not only a great degree of professionalism, but a commitment to ongoing professional development, preparing myself for the transition (Yonge, 2002), and continuing to view my working life as a continual process of learning and development. References Agnew, T (2005) Words of wisdom. Nursing Standard 20(6),pp24-26 Amos, D. (2001) An evaluation of staff nurse role transition. Nursing Standard 16 (3) 36-41 Andrews, M., Gidman, J. and Humphreys, A. (1998) Reflection: does it enhance professional nursing practice?. British Journal of Nursing 7(7) 413-7. Ashworth, P. and Saxton, J. (1990).On competence. Journal of Further and Higher Education, 14, 3-25. Bath, J.B., Blais, K. (1993). Learning style as a predictor of drug dosage calculation ability. Nursing Educator 18(1), 33-36. Beaney, A.M., Black, A., Dobson, C.R. et al (2005) Development and application of a ris

Philosophy of Art Essay

Introduction This paper attempts to establish what practitioners of philosophy can learn from practitioners of Art. In doing so, the paper first looks into art and philosophy so as to offer a clear understanding of the subjects, before turning into the main theme. What is Art?   Ã‚  Ã‚   Even though the above question appears simple, it is interesting and can, and is answered by reverting to the philosophy of art. In addition, art embraces descriptions of beauty, taste, symbolism as well as representation. Philosophy of art also explores the association existing between the individual artist (ideas), and the bigger congregation (audiences, culture, and universe) (Carroll N, 1998). That being the case, what does philosophy of art tell us about art? Some versions assert that art is a creative activity, expression or process of humans. According to Leo Tolstoy ‘Art is that human activity which consists in one human consciously conveying to others, by certain external signs, the feelings he has experienced and in others being affected by those feelings and also experiencing them.’ (Carroll N, 1998). On the other hand, when something is done perfectly or acquainted by study and practice; it is referred to as an art (Carroll N, 1998). For instance, driving a car, dressing in a nice dress, laying a child to sleep or even the art of conversion. In essence, art includes objects developed by humans that have aesthetic value or present symbolic meaning encompassing drawings, paintings as well as sculpture. Thus from the above observations, art can be said to be a symbolic representation of peoples association with nature (reality/environments). It is able to offer the concealed relations between things. It is beauty, it is truth. However, what does truth and beauty imply? This is where philosophy comes in as philosophy is the art of establishing the truth such that this truth is applied to life. In the same manner, art can be based on established truth that express the wonder and beauty of a relationship to the universe as it is acknowledged in the works of Marcel Proust and Henry Mattisse (Diffey T, 1995). ‘Art is a selective recreation of reality according to an artist’s metaphysical value judgments. An artist recreates those aspects of reality which represent his fundamental view of man’s natures.’   Ã‚  (Marcell Proust)( Diffey T, 1995), while Henry Mattisse writes ‘when we speak of nature, it is wrong to forget that we are ourselves a part of nature. We ought to view ourselves with the same curiosity and openness with which we study a tree, the sky or a thought because we too are linked to the entire universe (Diffey T, 1995).’ The different forms of art are visual arts which involve aspects such as painting, photography and sculpture among others, and fine arts which embrace music, dance, theatre, literature, poetry, etc. What is philosophy? As William Thomas points out, ‘Philosophy studies the fundamental nature of existence of man and man’s relationship to existence†¦in the realm of cognition, the special sciences are the trees but philosophy is the soil which makes the forest possible’ (Bender J, 1993). A philosophy is an all inclusive organization of ideas concerning human nature as well as the nature of the truth we live in. it is a guide of living since the subjects it deals with are crucial and enveloping, establishing the course we take in life and how we treat other people. Among the most important field that philosopher’s deal with fall into a number of separate fields. Among them, the most imperatives ones are; metaphysics which deals with the theory of reality, epistemology that connotes the theory of knowledge, ethics which is theory of moral values, politics which is theory of legal rights and government and aesthetics which refers to theory of nature of art (Carroll N, 1998). The vehicle for philosophical guidance is religions such as Buddhism, Christianity, Judaism as well as Islam. Religions vary from philosophers not in the issues they deal with but in the ways they employ to address them. Religions are based on mythic stories that existed earlier before discovery of unequivocally cogent methods of inquiry (Bender J, 1993). The present day religion (majority of) appeal to mystical faith as well as revelation sort of belief that claim legitimacy independent of logic, and the scientific method, at least made for the biggest subjects. However, majority of religions are in their commencement pre-rational as opposed to anti-rational, a story teller’s account of philosophic issues as opposed to scientists (Bender J, 1993). Philosophy in Greek connotes ‘love of wisdom’. Philosophy is founded on rational arguments and appeal to facts (Bender J, 1993). Modern science history began with philosophical enquiries and the scientific method of research and proof is an aspect of the general approach that a philosopher attempts to bring to a question; one that is coherent and vigorous. Philosophy is known to offer deep and wide questions presently. Dealing with the issues in each branch of philosophy calls for integration of everything one knows concerning reality (metaphysics) or humanity (epistemology, ethics, politics and aesthetics) recommending reasonable inclination in philosophy therefore is not a simple job. Frankly, philosophers more often than not disagree about principle subject; some slipping their own positions in the mix as well (Diffey T, 1995). Thus, there is no particular philosophy world wide as is the case with physics, chemistry among other disciplines.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Having clearly distinguished the two disciplines, then we can embark on the issue of what a philosopher can learn from an artist. This calls us to explore the subfield of philosophy. It relates to nature of art, in addition to performing of arts as well as painting, sculpture and literature (Diffey T, 1995). Major concerns in aesthetic comprise of how artistic creations should be construed as well as assessed and how the arts are linked to one another, to natural beauty, morality, religious science as well as other crucial aspects of human life. The association between art and epistemology has been everlastingly tenuous and burdened with a lot of arguments (Diffey T, 1995). It is acknowledged that there is something meaningful from experiences as well as interactions with works of arts. However, it is not considered as obvious that whether or not the experiences one has with art can produce propositional understanding that is represented by true vindicated belief (Diffey T, 1995).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Whereas engaging objects aesthetically is both insightness and emotionally burdening practice, it is also essentially cognitive. Therefore, it can be said that aesthetic engagement is based on various epistemological concerns (Carroll N, 1998). For instance, philosophers claim to know about art. People say that they believed the play was good or bad, but the emotions it produced were called for, justified, manipulative or suitable. In most cases, people allege that they learn from art, that art alters their view of the world and that art has influence on the way they view as well as make sense of the world (Carroll N, 1998).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   It also widely acknowledged that works of arts particularly good works of art, can cause view points about the world and can in turn offer knowledge concerning the world (Carroll N, 1998). However, what can exactly be known about art? Does art have any sort of propositional content that resembles the context that philosophers claim to require for other sort of knowledge claim?   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The subject of whether philosophers have something to learn from artists revolves back to the period of Plato. Plato warned about the perils of making a fuss of mimetic as well as narrative demonstrations of the world and human actions. A practitioner of philosophy by his engagement with art permits certain emotions or activities that are able to facilitate or produce knowledge. It should be acknowledged that some aspects of art work that are able to produce greater understanding of the surrounding world (Carroll N, 1998).   In this case, art becomes a source of insight as well as awareness, even though it cannot be put into propositional language.   It can help people (philosophy practitioners) see the world in a new or different way (Carroll N, 1998).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   They are often those who view art as being incapable of offering knowledge primarily because it does not generate any truth; they argue that since art cannot offer facts or produce arguments then there is nothing to learn from it (Diffey T, 1995).   They further argue that art cannot be acknowledged as a source of knowledge as it is not productive of knowledge, construed in the convectional sense of vindictive true belief. They assert that art is devoid of propositional content capable of being learnt the conventional way, whereas it has influences that promote knowledge and that can promote or weaken the development of understanding. Thus the net effect is to reject art as a source of knowledge as it does not offer true beliefs and furthermore because it does not as well as cannot vindicate the views that it does express (Diffey T, 1995).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   However, those who are for and those against concur that art is a source of knowledge, the only way that it can probably satisfy such a function be it that knowledge neglected something crucial to art’s nature as well as value (Diffey T, 1995). Plato articulates that it is possible for an artist to make a representation of a thing without having advance knowledge of his presentation.   For instance, painters represent cobblers when the painters have no idea how to make shoes, and poets write about virtue such as beauty and courage without any clear knowledge of these attributes (Carroll N, 1998). To Plato, it is only philosophers and moreover, those who struggle to intuit (feel) the forms and employ abstract reasoning are able to have know-how of these virtues.   To him, the same things exist even for the literary arts in particular.   He asserts that the more one engages in emotions brought about by representations, the more likely one is to suffer the influences of an unstable soul and finally the growth of bad attitude (Carroll N, 1998). Aristotle seems to have agreed with Plato that art influences the development of one’s moral character.   These two philosophers believed that people learn from art, however, Plato argued that the gained knowledge was harmful while Aristotle argued that it was beneficial (Carroll N, 1998). Going back to the period of renaissance and beyond it should be noted that the works of art such as poetry and fiction engages the emotions of a philosopher in a healthy way rather as opposed to detrimental manner (Bender J, 1993).   Some philosophers point out that there are there crucial types of knowledge claims that can be made concerning arts which are distinguished by objects. The first is what philosophers claim to know or believe concerning the art object itself and anything unreal or fictional worlds might be linked to that object. The second aspect of knowledge claim about art relates to what is known or believed to be appropriate emotional reaction to the art work. It is crucial to note at this point that works of art are correct, understood through having a certain kind of emotional response to them (Bender J, 1993). The only problem encountered in this course is that it is not possible to establish the kind of response that is appropriate in relation to a particular work of art (Bender J, 1993). The last kind of knowledge claim that is available as far as art is concerned relates to the nature of information art can offer about the whole world (Bender J, 1993). It is important to note that art affords imperative insight into the way philosophers order and understand the world. Art gives a certain degree of meaning to the lives of philosophers. Art, particularly literature, draws out novel views (beliefs) as well as new knowledge concerning the world (Bender J, 1993). Conclusion From the above, it is noteworthy that philosophy practitioners have a lot to learn from practitioners of art. It is important to acknowledge what constitutes knowledge so as to be able to understand how art impacts the subject. Reference Bender, John (1993).   â€Å"Art as a Source of Knowledge: Linking Analytic Aesthetics and Epistemology.† In Contemporary Philosophy of Art, ed. John Bender and Gene Blocker. Englewood Cliffs, NJ: Prentice Hall. Carroll, Noel (1998). â€Å"Art, Narrative, and Moral Understanding.† In Aesthetics and Ethics: Essays at the Intersection, ed. Jerrold Levinson. Cambridge: Cambridge University Press. Diffey, T .J (1995): â€Å"What Can We Learn From Art?† Australasian Journal of Philosophy 73 202-11.

Adulthood by Nikki Giovanni

Adulthood by Nikki Giovanni BY urnerl 203 Umer Rehman Professor : Boisson English:200 Adulthood Nikki Giovanni wrote many peoms , basically between the time of 1960s and 1970s. At the time of depression. Adulthood is one of the peoms written in the same time as well. Adulthood is a short story about a girl and which shows her childhood and gradually coming into adulthood. In this peom the Narrator tells us at many places about the economic status of the little girl in different ways.In the beginning â€Å"when i was a little girl in Indianapolis†, Indianapolis is a subarban area, not a good economy there. It has small towns there and so Just by this we can figure out that girl is not from a rich family or place. in the next line it says â€Å"sitting on the doctors porches with post dawn pre debs†. Sitting on the doctors porches refers to someone sitting on the steps and doing nothing. It shows as someone who has no Job or has nothing mportant to do, so they Just sit an d look around.It describes how the place where girl lives has people, who have not much t do and so they sit on door steps and kill time. when we read the next two lines of the peom, where is says â€Å"i wondered if life would give me a chance to mean†. it relates with the fact that she is sitting there doing nothing and thinking she is worthless, and hoping life gives her a chance to make herself mean something important rather than sitting here.Narrator also mentions the slang language being used again and again in the poem like â€Å"usta† and the informal way she uses like â€Å"and other bullshit stuff'. This potrays her surronding , how and where she is brought up, as the economic status is not good and we see where she Ilives is not with many educated people so the slang language is used alot. They talk about stuff which is not important while sitting and conversing,shows kind of place and people there are.