How Did the Depression Affect France - 945 Words

The closing days of the 1920’s were a start of what would be the worst economic disaster that had ever been witnessed. The effect that the Great Depression had on capitalist countries such as Germany and the United States, was that their stocks and shares heavy economy plunged, leaving businesses unable to trade, and poverty throughout the nation. In the case of France, the depression initially did not suddenly bring the economy down drastically as it had to the more industrialised nations. Although relatively unscathed at first, by 1931 the ripple effect had hit France which steamrolled the economic downturn of the French economy. With France following the gold standard, the economic downturn lasted much longer than other affected†¦show more content†¦Following the events, Gaston Doumergue formed a government which had to endure criticism for not protecting against anti fascism, economic policies which were unflavoured by both left, and right wing institutions (McMil lan, 2003, p.58), which led to his government to focus on their communist policies, putting the peasants and rural workers as priority. His decision to take vigorous action against deflation, to better all members of society greatly setback by the depression to help aid social disorder was met with much discontent by many radicals (Jackson, 1988, p.45). The popular front led by Leon Blum, was the socialist government from 1936 which put in place the ‘Matignon Agreement’. Several developments established during the period of governing such as raising wages, and introducing the forty hour working week (James, 2003, p.124). Although they had in a sense united workers and employers, the adverse consequences resulted in a radicalised nation, with strong policing on tax evasion, and the reforms were substantially expensive (James, 2003, pp.124-125). Politically, the poor stability of the French economy didn’t allow Blum and his party to enforce their power across Europe. With the German economy recovering rapidly, and the vast military production, France simply didn’t have the resources to match up to the threat posed upon them (James, 2003, p.125). In conclusion, theShow MoreRelatedThe Great Depression1368 Words   |  6 PagesAfter WW1 the Great Depression had a very late impact on the major film companies in France, when it did, it unfortunately caused several film studios to go bankrupt, then in the late 1920’s to 1930’s many small film companies and groups emerged giving birth to the tendency called poetic realism. 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Providing Diabetes Care in General Practice Free Essay Example, 2000 words

In diabetes primary care the first and one of the most important stages is identifying people with diabetes. According to the estimates, about 80 percent of those, who are diagnosed with diabetes, are able to be taught and to be managed within the limits of the primary care, though the potential patients with Diabetes Type 2 are really diagnosed, as they may live for years without any evident symptoms of the disease, that is why all specialists in all spheres of medicine must always be alert in relation to possible discovery of diabetes among their patients through other symptoms, which at first seem to have no connection with diabetes itself. In order to increase the effectiveness of diabetes management in primary care it is necessary to undertake the following steps: It is necessary to check all pregnant women on the subject of diabetes; People, who have at least one possible symptom of diabetes, should be carefully investigated for the possible confirmation of diagnosis; Taking i nto account that the rates of diabetes among older people are higher than those among the younger, and that the rates of disease are higher among African, Caribbean and Asian races, with those who have hereditary cases in no relation to race or age, should be subjected to special control for discovering the correct diagnosis in time. We will write a custom essay sample on Providing Diabetes Care in General Practice or any topic specifically for you Only $17.96 $11.86/pageorder now New criteria for diagnosis and definition of diabetes of both types have been recently announced by the World Health Organization. According to the new definitions and criteria, the indices of glucose have been lowered to 7.0 mmol/l, thus at present diabetes will be diagnosed at the bigger amount of patients, though this will allow more through management and control of diabetes in primary care. These indices are used for the patients, who have no visual symptoms and the analysis should be repeated several times during several days. For the patients without any diabetes symptoms, the analysis and diagnosis are usually based on glucose determination only. (Standards of clinical care for people with diabetes, 1994)It is important to note the changes in the blood and plasma glucose levels, and in diabetes, primary care patients usually have their blood glucose measured with the help of glucose meter. After the diagnosis has been confirmed and primary procedures and analyses have been performed, it is necessary to carry out the initial diagnostic assessment. It happens sometimes, that the patient under investigation may feel unwell and thus will need hospitalization, or insulin therapy.

How do poets use ‘voice’ to instil their poems with personality Consider with reference to three poets Free Essays

For poetry to be truly personal, a voice is needed. It is through the voice of a poet that the reader can glean some sense of that poet’s identity and nature. Who are they? What are they trying to say? Why? One could even go so far as to say that the voice of a poem or poet is fundamental to its aesthetic value and ‘readability’ – without a distinct and clear voice, how can we distinguish a poem from the surrounding, ambient babble? It is the voice which endears a poet to the reader – without a voice, how can we identify with a poet? All these questions must be considered carefully. We will write a custom essay sample on How do poets use ‘voice’ to instil their poems with personality? Consider with reference to three poets or any similar topic only for you Order Now The voice of a poet can be a vehicle for political, personal, and social expression, as well as instilling a poem with a sense of personality – one might say the function of a poet’s ‘voice’ is to stamp their poem with their identity. It is the idea of an author’s voice, rather than the voice itself which draws us towards the author as an entity – someone with whom we can identify, converse and understand. The actual process of reading may be, on one level, entirely one-sided, but in reading a poem (or any piece of literature for that matter) we bring as much to the work as we take from it. In this way, reading a poem is not one-sided at all, and is instead a rich progression towards a higher understanding from the reader. In the end, it comes down to the age-old question: do words on a page in a closed book actually mean anything until they are read, and even when they are, is it possible to be both ‘voiceless’ and meaningful? It has been argued in Introduction to Literature, Criticism and Theory (Bennett Royle, 1999) that every literary text has a voice, be it that of an omnipotent and omniscient ‘god-like’ authorial voice, or a character of the author’s creation. According to this theory, even the Biology textbook – that most mundane and impersonal of publications – is infused with the voice(s) of its author(s). As Roland Barthes points out in his landmark essay â€Å"The Death of the Author† (Image, Music, Text, 1977), this is the sole reason why authors put their name on a piece of work. An author will lend their name to their novel/poem in order to distinguish it from other novels/poems. Ultimately, however, Barthes argues that this is meaningless: an author is nothing more than a product of his or her society and background, and therefore, the author cannot claim some sort of absolute authority over his or her text because, in some ways, he or she did not wri te it. In other words, it is writing that makes the author and not vice versa. There are, however, flaws in Barthes’ argument, which will be analysed further on. It is important at this stage, however, to make a clear distinction between the ‘author’ and the ‘voice’ in order to avoid any confusion that may arise. In many ways, the ‘author’ and the ‘voice’ of a poem or any work of fiction are intrinsically linked: the author is the voice and the voice is the author, in much the same way that Sylvia Plath is the voice in her poems or her work of fiction, The Bell Jar. There is no getting around the fact that we ‘hear’ Jean-Paul Sartre’s voice in The Age of Reason and Nausea, or Fontane’s voice in Effi Briest. The same can be said of the poets I have chosen: Linton Kwesi Johnson’s voice is clear and distinct, as are those of Tom Leonard and Sylvia Plath. In this way, one might say, the author or poet and their voice are one and the same – indistinguishable from each other. In other ways, though, it is easy to trip up and become muddled in the literary thorn bush that blocks our path whenever we try to make a generalisation. A novel like Anthony Burgess’ A Clockwork Orange (1962) displays no apparent sign of the author’s ‘voice’ – indeed it is written in a language entirely of his own creation (NadSat – the disjointed, disorderly jargon of a future jilted generation) and through the voice of the novel’s protagonist, ‘Alex’. Obvious questions arise. Whose ‘voice’ is Burgess speaking with? His own or Alex’s? Can they be both? Of course, Alex is a creation of Burgess’ mind and therefore the voice is ultimately that of Burgess himself – he thought of the character, put pen to paper, and put words in Alex’s mouth. But how far does this go? To what extent is Alex his own entity, free to evolve and grow within the limits and boundaries imposed by his author? H ow far and to what extent is Alex simply a mouthpiece for Burgess’ ‘voice’: moralising and ominous. In the end, we are never really sure whether Alex has been ‘cured’ or not, or (which is more interesting) whether the author even knows. The same theme is explored in Flann O’Brien’s novel, At Swim-Two-Birds (1939), in which issues of ‘author’, ‘voice’, and even the idea of a character, are thrown into question. But how does this relate to poetry and the issue of ‘voice’? To start with, the same problems of discerning the ‘voice’ from the ‘author’ are present, but much more subtle, in the poets I have chosen. I have deliberately picked poets who ‘speak’ in their own ‘voice’ as it were, in an attempt to highlight the different motives with which ‘voice’ is used. For example, in Sylvia Plath’s poems, ‘voice’ is used to express deep and intimate emotional feelings, and in some cases, psychological trauma as in her moving poem â€Å"Daddy†. In this poem, Plath’s voice is clearly enunciated, and the effect of this is to give the reader a powerful insight into the workings of the poet’s mind. The poem deals with Plath’s relationship with her dead father, and how she must reconcile his past and her roots in a post-war world. As the poem progresses, however, the reader comes to realise that ‘Daddy’ is not the bà ¯Ã‚ ¿Ã‚ ½te noir we suppose him to be – and instead we understand that he is an integral part of Plath as a person. A part she has come to hate and associate with her father. A part she can never escape: â€Å"Daddy, daddy, you bastard, I’m through.† (80) Plath’s voice comes through in a number of cunning ways here. It seems as though she is addressing her father, and therefore speaks in the first person singular for example: â€Å"I used to pray to recover you.† (14) As a result, the poem seems all the more intense and personal – perhaps because we are listening in on a one-sided conversation which we feel we should not be listening to. The effect is akin to reading someone’s personal letter, when feelings of guilt compete with an innate curiosity about other people’s intimate details. In this way, her anguish is eloquently expressed in the first stanza: You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. 5 (1-5) But we could also make a case that the â€Å"Daddy† in the poem is not only her father (and perhaps a part of herself), but her husband, Ted Hughes, as well. For example, towards the end of the poem, various subtle references to marriage are made: â€Å"And I said I do, I do.† (67) The idea of two men (the two men in Plath’s life) is brought up again when we are told that â€Å"If I’ve killed one man, I’ve killed two†¦Ã¢â‚¬  (71), and a direct reference to the poet’s marriage is made at line 72: â€Å"The vampire who said he was you/And drank my blood for a year,/Seven years if you want to know† (72-74). It is almost as though Plath is being suffocated by the omniscient and omnipotent men who surround her – both alive and dead. We can only understand this because Plath has instilled her poem with her own ‘voice’ – had the poem been written in an impersonal, detached way, completely devoid of any discer nible ‘voice’, the intensely personal sense we get of Plath being smothered would be lost. But the strong and clear voice that comes through also raises issues about Plath’s identity: who she feels she is and is not. She says at one point that she thinks she â€Å"may well be a Jew† (35), when in fact she is not. This is echoed by her despondent, resonant cry in a foreign language: â€Å"Ich, ich, ich, ich.† (27) It is clear that the poem has a strong personality, and this personality is only made possible with the presence of Plath’s voice. A link can be made here to another of Plath’s poems, â€Å"The Bee Meeting†, which also raises the question of identity. Unlike â€Å"Daddy†, this poem is not addressed or aimed at anyone in particular, but this does not mean that it is any less personal, and it still retains Plath’s ‘voice’ as she is again speaking in the first person. The poem reinforces the poet’s sense of abject loneliness in a world populated by well-to-do figures of society who (it seems) neither really care for, nor understand her. In â€Å"The Bee Meeting†, Plath joins various members of the parish to collect honey from the â€Å"white hive†(34). When the other figures don their veils and heavy outer garments for protection, however, their identities are lost, and this frightens Plath, who does not want to be lost in turn: Is it some operation that is taking place? 30 It is the surgeon my neighbours are waiting for, This apparition in a green helmet, Shining gloves and white suit. Is it the butcher, the grocer, the postman, someone I know? 35 (30-35) Plath’s voice comes across most strongly, however, when she tells us of her fear and her nakedness while all others are clothed. We are told that she is â€Å"nude as a chicken neck, does nobody love me?† (6) and â€Å"Now I am milkweed silk, the bees will not notice./They will not smell my fear, my fear, my fear.† (9-10) Clearly, a tortured, lonely, forlorn voice is at work here, appealing vainly for understanding in the hopelessly detached way that abject melancholia brings. Her tired, sad, frail voice is heard at the end: â€Å"Whose is that long white box in the grove, what have they accomplished, why am I cold.† (55) The lack of a question mark at the end implies that an answer is not expected, perhaps because Plath knows that she will never receive one. The subtlety in the image of the coffin-like â€Å"long white box† hints at hidden depths to Plath’s feelings – depths which are both limitless and moving. We could go so far as to say that Plath associates and identifies herself with the hive and its angry bees: confused, chaotic, and directionless. By putting the bees to sleep, the hive, â€Å"as snug as a virgin† (34), is violated. In the same way perhaps, Plath sees herself as violated or raped by the world around her. Once again, it is only through her powerful voice that we understand these emotions. Problems of identity are strongly linked in both poems (the â€Å"Ich, ich, ich,† of â€Å"Daddy† and images of lost identity in â€Å"The Bee Hive Meeting†), and this question surfaces again in the poems of Linton Kwesi Johnson. In a poem like â€Å"Mekkin Histri†, Johnson’s voice is immediately clear and challenging: â€Å"now tell mi something/mistah govahment man/tell mi something.† (1-3) Johnson’s voice searches, accuses, demands: how lang yu really feel yu coulda keep wi andah heel 5 wen di trute done reveal bout how yu grab an steal bout how yu mek yu crooked deal mek yu crooked deal? ` (4-9) It is clear that the voice coming through here is a purely political one, and the colloquial language that Johnson employs reinforces his poems’ sense of ‘otherness’ and originality. The language is both alien and familiar, both intimidating and soothing. But it is also a collective voice – a voice of the people, but not all the people. It is a voice demanding complete and radical change, an alien voice that has become disillusioned with the society that surrounds it. The title of the poem, â€Å"Mekkin Histri† implies a time of great change, and this is exactly what Johnson was doing at a time when the British establishment was threatening to revert back to an entirely conservative, jingoistic and exclusive mindset. It is not surprising that Linton Kwesi Johnson has earned himself the nickname of ‘The Prophet’, who, with his eclectic mix of dub beats and chanting poetry, captured the political heart and soul of Britain’s black yo uth in the 1980s, and, many say, continues to do so today. It is perhaps due to the African tradition for collective storytelling and music that Johnson’s voice is so much more powerful and raw compared to other poets/songwriters talking about the same thing, for example Gil Scott-Heron. Perhaps it also has something to do with the way the poems are written and their apparent inaccessibility to the ‘Western’ reader. What it succeeds in doing is creating, once read aloud, a true sense of Johnson’s voice – its rhythm and patterns, recreated in our own, individual voices. These are poems that cannot be read silently: they make no sense just as words on a page. For them to be truly understood, these words, seemingly unfamiliar at first, become familiar once we voice them ourselves. In a way, Johnson is raising the whole concept of ‘voice’ in poetry to another level – ‘voice’ is no longer something we get a sense of when reading words on a page; it is something we must enunciate f or ourselves. When it becomes collective poetry (Johnson’s words through everybody else’s voice), it speaks for everyone, regardless of his or her colour. We cannot help but identify with the poet and his words because, essentially, they become our own. This sense of a collective poetry, of Johnson speaking for everyone, comes across strongly in all of his poems, and â€Å"BG† (his tribute to Bernie Grant, the first black Member of Parliament) is no exception to this rule: yu woz wi cheef yu woz wi choice yu woz wi champian yu woz wi face yu woz wi voice 20 yu woz wi main man (16-21) But if Linton Kwesi Johnson is using ‘voice’ in his poetry to achieve a political end, then Tom Leonard is using his voice to represent a social one. Like Johnson, Leonard writes in the strong dialect he speaks, hailing from Glasgow. Like Johnson and Plath, his poems are infused with his own voice, and, by writing in his colloquial way, forces the reader to read the words aloud, or imagine how they would sound spoken. Thus, what seems to be an incomprehensible passage can be understood when read aloud in a broad Scottish accent: ifyi stull huvny wurkt oot 35 thi diff- rince tween yir eyes n yir ears; 40 – geez peace, pal! (From â€Å"Unrelated Incidents† 33-42) Not only does Leonard’s voice come through very strongly here, the form of this particular poem (â€Å"Unrelated Incidents†) adds to the overall effect Leonard is trying to achieve – namely by breaking up the flow of the writing, the reader is forced to ponder over and analyse individual words and phrases at a time. It seems also that Leonard is concerned with the subjectivity of language, and the way different words and different intonations mean different things to different people. It has been said that language is a slippery medium, and this is all too true in the cultural divide between England and Scotland. Although on paper both countries speak the same language, in reality, the different ways in which English is used by both the Scots and English themselves, suggests that this is not the case. Leonard points out the root of these differences in â€Å"Unrelated Incidents†, in an excerpt called â€Å"The 6 O’clock News†: thirza right way ti spell ana right way 90 to tok it. This is me tokn yir right way a spellin. this is ma trooth. 95 (â€Å"The 6 O’clock News† 88-95) Leonard seems to be highlighting here the discrepancy between ‘tokking’ (or talking) and spelling. There may be a ‘right’ way of spelling, says Leonard, but there is no ‘right’ way of talking (not in these days when ‘received pronunciation’ is an institution which is frowned upon and laughed at, anyway). Your right way of talking is not my right way of talking. Similarly, Leonard says, your right way of spelling is no longer my right way of spelling. â€Å"this/is ma trooth† (94-95). We see this most clearly in his poem â€Å"In the Beginning was the Word†, in which spelling and language is slowly corrupted and deconstructed, leaving in its place something new and startlingly clear: . in the beginning was the word . in thi beginning was thi wurd in thi beginnin was thi wurd in thi biginnin was thi wurd in thi biginnin wuz thi wurd 5 n thi biginnin wuz thi wurd nthi biginnin wuzthi wurd nthibiginin wuzthiwurd nthibiginninwuzthiwurd . in the beginning was the sound . 10 We can see, then, that these poets are all linked in the way they use their ‘voice’: Sylvia Plath uses hers to instil her poems with a sense of her own personality and intimacy; Linton Kwesi Johnson uses his to use our voice, in effect, in order to put a political point across; and Tom Leonard uses his to illustrate the subjective nature of language, and how we use it to achieve our own ends. In this way, we can see how these poets have all used their ‘voice’ in different ways – all to create the effect that it is their poetry and no-one else’s. These poets are distinct in their original and compelling use of their own individual ‘voices’. Earlier in this essay, I mentioned Roland Barthes’ piece, â€Å"The Death of the Author†, and it seems appropriate here, now that I have highlighted the ways in which these poets operate concerning ‘voice’, to analyse his essay in this context. Barthes holds that an author or poet cannot be individual or original because he or she is merely a product of the society that surrounds them. This throws the whole concept of the ‘author function’ into question: is an author really an author? Have they really written what they have written? I believe that the use of ‘voice’ in poetry proves that a poet or an author can be individual and original. It is true that a poet like Tom Leonard or Linton Kwesi Johnson writes in the dialect of his society, and is therefore (to an extent) a product of that society, but this does not address the fact that these poets are entities in themselves, bringing something original to their work, and they are not simply blank sheets which society has filled in. In short, these poets do not regurgitate their society: they regurgitate themselves. Every poet brings something new and original to the world of poetry and literature, and if this were not the case, then poetry and literature would never have advanced at all. Wordsworth said that a poet is someone who is â€Å"pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the Universe, and habitually impelled to create them where he does not find them,† (â€Å"Preface to Lyrical Ballads†, 1798) and to this I would only add that today, a great poet should have a strong voice. The voice of a poet is his true identity – that which he is judged against, and that which compares him to all others. Ultimately, a poet’s voice is his defining feature: an existential monument to who he is – something entirely unique, and something that should be cherished. How to cite How do poets use ‘voice’ to instil their poems with personality? Consider with reference to three poets, Papers

Not Just A Job free essay sample

In ninth grade I participated in a local breast cancer walk which broadened my mind regarding how many people were affected by the horrific disease of cancer. I desire to learn more information on cancer research, as well as additional health science research, so I can expand the minds of other people. Throughout my years of high school I’ve become more and more interested in the physical well being of others. Exercise and healthy habits is one area I feel Americans need more education. I want to make a difference in the world in this area. Too many people are not taking care of themselves and are possibly dying younger than they should. I’m very open-minded about what health science program I would like to major in. I have a particular interest in physical therapy because there is a considerable amount of new patients with different problems to assist. We will write a custom essay sample on Not Just A Job or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I learned this through shadowing at Dr. Barry Moochler at his private practice. People came from all walks of life: the young and the old, injuries from sports or automobile accidents. Throughout my life I’ve taken care of my body by eating healthy and staying active. Over a period of ten years, gymnastics and cheerleading played a major role in helping me to stay fit and to live a healthy lifestyle. I know how important it is to take care of my body and I want to help other people take care of theirs as well. Taking care of injuries and preventing injuries is one area where I feel I could make a difference. Whether injuries come from playing sports or something as simple as poor posture, I’m looking forward to being taught how to make the lifestyles of others healthier. The field of health sciences caught my eye because it is a topic of continuous change. There are many areas of this field that require constant learning which is precisely what intrigues me. I enjoy th e constant variation of knowledge which keeps me fascinated. I don’t want just any job for the rest of my life. I’m looking forward to becoming a specialist in my field of study; not just someone who applies old knowledge to help people but one who is willing to learn more to help people in a better way.