Marxism literary and the new criticism theory

Marxism literary and the new criticism theory Marxism literary theory and the new criticism theory are among many wide schools of theory with historical importance. These theories differ in their methods and conclusions as well as their text. Different theories complement and supplement each other in their goals, methods, conclusions and text. The present day literary theory dates back in the 1960s. Literary theory was at its highest peak in popularity in some of the leading universities in America such as John Hopkins and Yale. It is from these universities that the influence of literary theory started spreading and by 1980s it was being taught almost everywhere. During this time, literary theory was supposed to be an academically cutting-edge, and as a result the majority of university literature departments wanted to teach and learn theory and integrate it into their curricula. The goal of Marxist literary theories is to represent class conflict as well as to reinforce class distinctions through literature. Marxist theorists frequently champion writers who are sympathetic to the working classes and those whose works challenge the economic equalities in capitalist societies. In maintaining the spirit of Marxism, literary theories developing from the Marxist paradigm have sought Modern ways of understanding the relationship between literature and economic production as well as cultural production. Literary theory has drawn a lot of influence from the Marxism analyzes society. New Critics in their works usually include inherent moral dimension, and occasionally a religious dimension. For instance, New Critic may read a poem by Thomas Eliot for its level of honesty in expression of torment and contradiction of a serious exploration of belief in the present world. On the other hand Marxist critic might see New critics point of view as ideological instead of critical. They would argue that critical distance should be kept from the poets religious standpoint for the poem to be understood. New criticism theories look at literary works in the view of what is written and not upon the authors goals or biographical issues. In contrast, the Marxists emphasize themes of class conflict. Marxist literary criticism Marxist literary criticism is used to describe literary criticism influenced by the philosophy of Marxism. Twentieth century leading proponents of Marxist theory are also literary critics. They include, George Lukà ¡cs, Terry Eagleton, and Raymond Williams. Marxist theory has different goals. One of its simplest goals is literary assessment of the political inclination of a literary work, hence determining whether its literary form is progressive. According to Marxists legal systems, religious beliefs, and cultural frameworks are determined by social and economic conditions. Therefore Art should represent these conditions truthfully and also seek to better them. The popularity of Marxist aesthetics has reduced in nowadays consumerist society; however it continues to pose responsible questions. Marxist basis of evaluation is hard to establish although it is one of the vigorous and varied 20th century school of aesthetics. Marxist theory has not been able to explain how the political, artistic, and legal superstructure of a nation reflects in its economic constitution. Assumptions from its generalizations have been stunningly inaccurate. For instance the hypotheses with which Marxism explained the rise in living standards of capitalist working class; the Russian-Chinese conflict revolution in Russia; and the uprisings in Berlin. The fact that Marxism fails intellectually is a prove that it has weaknesses in literary criticism. Despite Marxist critism theories having weaknesses it is a good thing that it allows intellectual freedom. Sometimes the authors writing may have been influenced in some way by the state. For instance, the communist world was totally different from what writers were allowed to show. This means that the literary work of time could not be analyzed by simply looking at the authors goal as it is proposed by new criticism. Reading the literary work very closely and particularly the language used by the author would help to analyze the work more critically. In this case Marxism is very crucial because what people read that is what they practice. Some contemporary Marxists such Terry Eagleton have tried to rehabilitate or revise marx. She recognizes the fact that literary work like that of Shakespeare create value because by reading them we are made to think and get something out of them thus getting some values from them. This supplements new criticism theory that looks at the moral and sometimes the religious dimensions such as honesty. Georg Lukacs contribution In his contribution towards Marxism and literature, Georg Lukacs, maintained that the text contained in classic realist writings in describing events of ordinary occurrence and social conditions give a vivid picture of the entireness of a society and its evolution. He argues that the literature of naturalism shows the contradictions that exist in societies and within the individual in the context of a dialectical unit. He acknowledged the fact that realist novels present a partial image of a society. However, he also supported the idea that the value of a novel lies in its description of the nature of a society in a historic period. He also argued that any literary work does not reflect individual phenomena in isolation as modernist text depicts, but should be the whole process of life found in realism. However, Lukas was opposed by Bertolt Brecht, who argued that society is dynamic and hence reality also changes. This is why Bertolt maintained that modes of representation should cha nge accordingly. The methods and goals of representation are always changing in the quest to describe present-day realities. Raymond Williams contribution According to Williams, any literature potraying an ever changing culture has the counter-hegemonic and dominant ideology. Therefore Marxist criticism leaning towards Williams theories considers literature as an important vehicle for ideology. Williams believed that where there was no common culture, a cultural and literary tradition is founded on selections made in the present and shaped by value decisions and power interests. This way he deconstructed the idea that truth is integral in a literary tradition. This contribution complements the new criticism theory that seeks to understand moral dimension of every literary text. He also suggested the term structure of feeling for analysis of literature. Even though she acknowledges that the term cannot be equated to an ideology since it lacks specificity of class and it is not universal; the term gives the dimension of experience more emphasis. Structure of feeling supplements new criticism theory since it emphasizes the experience dimension. This means that the text is not subjected to critical interpretations but instead the primacy of the text is upheld. New criticism New Criticism as a school of thought of literary interpretation stresses the significance of studying texts as comprehensive works of art in themselves. They argued for upholding primacy of text other than analysis based on context. According to proponents of this theory literary texts are usually comprehensive in and of themselves. They elevate the purpose of criticism in academics such as in the maintenance of language and poetry at the same time helping their development. Criticism is very important as it forms an inherent part of social development. Majority of new criticism studies see the theory as one that focuses on close reading of structure, theme, technicalities and the message contained in the literary works. New criticism supplements the Marxism criticism theory in its objective. Marxism theory interprets every literary work on the basis of how it responds to social inequalities. Social development is therefore an inherent part of the Marxism theory. New criticism also gives some focus to social development though indirectly. New criticism theory expects that by focussing on criticism at the academic level, the same will trickle down to the society at large and hence leading to social development. Unreasonable assumptions of Marxism and new criticism One of the assumptions of the New Critics is that biographical and historical information is not important in the study of a literary text. This assumption restricts the reader so much and is often seen as excessively authoritarian. Historical and biographical information is necessary as it can create an experience dimension that can pass some values to the reader. In so doing social development occurs. Marxism emphasizes the use of historical and biographical information in analyzing literary works. Marxism assumes that a literary work is a reflection of the society that produces it. This assumption is not always true. Some literary works may have had some external influenced thus depicting a society in a way that people wants to see it and thus may not be a true reflection of the society. Since new criticism does not emphasis the historical and biographical information of text, but instead on close reading of structure, theme, technicalities and the message contained in the literar y works, it complements the Marxism assumption. Therefore the blend of both Marxism and new criticism can complement each other as mentioned above. Humanism Marxism does not put emphasis on the use of Marx ideology of class conflict for academics but instead for social development. Therefore proponents of Marxism criticism theory believe it is most useful in the humanist world outside the academy. As discussed earlier, the new criticism is so much focussed on academics and not the society. It is so restrictive to the reader and does not use biographical and historical information in analysis of a literary work. On the other hand, Marxism can be referred as being humanistic. It is humanistic because it empathizes with the victims of social inequalities. Marxism therefore seeks to analyse literary works using the Marx ideology of class conflict. The Marxists hope that by analyzing literary works using class conflict ideology, the reader will be able to recognize the inequalities existing in the society and thus can find ways of overcoming them and bring about an equal society. According to Patricia Waugh humanism is not only found in Marxism but rather in all theories. She sees theories as a means by which one can exercise crucial capacities of being human. One can reflect or be rational about life through a theory and in the process one can stand back to make second order judgements about the world and our behaviour in it. In conclusion, Marxism criticism theory and New Criticism are different in many ways. These differences are what complements and supplements each other. For instance, since New Criticism does not emphasize on the use of historical and biographical information in analyzing literary works, Marxism complements it. On the other hand, New Criticism supplements Marxisms structure of feeling by emphasizing moral dimension in the analysis of literary works. Raymond Williams a proponent of Marxism acknowledge values such as truth as integral to the literary tradition.

Thorn Queen Chapter Twelve

Kiyo took off as soon as we got back to Tucson, saying he had to go to work. He also added that I shouldn't expect him later that night since he'd promised Maiwenn he'd come visit. Normally, that would have set my mood plummeting-and I won't lie, I wasn't thrilled as it was-but after last night, I felt superior and confident in my position with him at the moment. Somehow, I doubted he'd be looking at Maiwenn with the same awe he kept regarding me after I'd ridden him to exhaustion last night. If the crossroads in Yellow River-which we'd visited before heading out of town-had only yielded some answers this morning, I would have considered the trip a resounding success. â€Å"Nice of you to spend some time around here,† Tim told me when I emerged from the shower. As usual, he appeared to be cooking something. â€Å"What's that?† I asked, watching him roll out dough. â€Å"Cinnamon rolls,† he replied. â€Å"The second batch I've had to make, thanks to someone raiding the kitchen while they cooled.† He shot a glare over in the direction of one of the dogs-Yang, I thought-lying under the table. Yang looked extremely pleased with himself. â€Å"Sorry,† I said, even though it wasn't exactly my fault. Tim finished rolling out the dough and sprinkled the surface with a mixture of cinnamon and brown sugar. â€Å"And don't think you're going to change the subject about never being around.† I found a Coke in the refrigerator and sat down, a little irritated over the scolding. â€Å"Well, sorry you miss my company, but I don't really see how it matters. Our deal is you live here rent-free in exchange for cooking and cleaning. Me not being here means you have less work. Besides, I've had things to do.† He scowled. â€Å"Yeah, I suppose. But do your ‘things' actually involve your job-the one that gets the mortgage paid? Your secretary called last night and said you missed an appointment. And you know, dealing with her isn't part of my rental agreement.† Despite having never met, Tim and my receptionist, Lara, had an antagonistic relationship over the phone. I had no time to give to their drama today, though. The other news was too startling. â€Å"I did what?† I took out my phone, which also doubled as my planner. In addition to two missed calls from Lara, I discovered I had indeed missed an appointment for a banishing last night. I'd been so fixated on my quest in Yellow River that I'd totally forgotten I had it. â€Å"Shit,† I muttered, dialing Lara's number. As keen as I was on these missing girls, Tim had a point-my human jobs paid the bills. Not the gentry ones. â€Å"What happened?† demanded Lara as soon as she answered. No hello. â€Å"I got distracted by something else,† I said. â€Å"I'm really sorry. You think we can reschedule? Give them a discount or something?† â€Å"Probably,† she conceded. â€Å"I mean, it's not like they've got many other options to get rid of a ghost. In the meantime, though, I've got some other pending clients.† I hesitated. Normally, I wouldn't think twice about accepting as many jobs as I could. It was good for my bank account and a good deed for the world. With as much as the Otherworld was preoccupying me, however, I couldn't afford losing the time right now-or possibly missing another appointment. â€Å"Reschedule the one I missed and book only one of the others. Tell the rest we have to wait-list them.† Lara was silent for several seconds. â€Å"Are you serious?† â€Å"Afraid so.† She sighed. â€Å"Okay. You can still pay my salary, though, right?† â€Å"Yes,† I laughed. â€Å"I haven't gone bankrupt yet.† â€Å"Okay then.† She sounded only moderately pacified. â€Å"But for the record? Your roommate needs to learn some manners. He was a total asshole when I called last night.† Before we disconnected, Lara made sure to remind me about two jobs I had later that day. She wouldn't get off the phone until I repeated the times and places back to her. I was just as eager to take care of them as she was, as sort of a mental retribution for the missed one from last night. I'd never forgotten a job before. My career might be an unusual one, but I still considered myself a professional and didn't want to start falling into bad habits as a result of all this Thorn Queen business. And yet†¦as soon as I finished those jobs, I had to send myself back to the Otherworld. I only intended it to be a quick visit, though. I simply needed to check Shaya's progress and find out if the runaway girl had been located. Questioning her would make this whole search and rescue a lot easier and let me get on with my human life. The news wasn't good, however. â€Å"No sign,† said Rurik, once I hunted him down in the castle. I'd found him in a compromising position with one of the cooks. â€Å"We've got people scouring the area but haven't had any luck. We did, however, find where those bandits have relocated. Do you want us to go after them?† I hesitated. I did want to round them up, both to take the pressure off the villages and see if they knew anything about the girls that my prisoners hadn't. In the end, I shook my head. If they still had that fire demon summoner, I didn't want to go after them until we had an overwhelming show of strength. â€Å"No. Not yet. Just keep looking for the runaway.† I gave a sidelong glance toward the kitchen, into which the woman whose skirt he'd just had his hand up had disappeared. â€Å"You know, if it's not too much of an inconvenience.† At least the news from Shaya was good. The supplies Dorian had sent me home with had been shipped out, and apparently Leith had contacted her to say that after going through the irrigation book, he had some ideas for us. Naturally, he wanted to meet with me again. I suspected an ulterior motive, but it was something I'd happily endure to keep the food coming. I at least felt like Leith's intentions were easier to understand than Dorian's-and that I was a lot less likely to yield to temptation along the way. I sent the young prince a message back, saying I'd love to meet with him. On impulse, I also asked if he had anyone who might be capable of summoning water demons. Once that chore was done, I made motions to go back to Tucson. â€Å"Well? Are we going to get this done with or not?† I turned around, surprised to see Ysabel standing there in the hallway, hands on her hips. I'd been heading out toward the courtyard to do a little communion with the land before returning home. The heat was sweltering, as usual, and most of the women around here had taken to wearing light, gauzy gowns, often with short or no sleeves-not unlike the dress I'd worn to Maiwenn's party. Ysabel had made no such concessions and stood clothed in a green velvet gown, complete with long bell sleeves. The color looked stunning with her hair, but I knew she had to be miserable. â€Å"Get what done with?† She threw up her hands in exasperation. â€Å"This†¦tutorial. Or whatever it is my lord sent me here to do.† Oh, right. I hadn't forgotten Ysabel, exactly. I'd just kind of tried to pretend she didn't exist, in a feeble (and futile) hope that she might just disappear. No such luck. â€Å"Sorry,† I said, returning her hard look. â€Å"I don't really have time.† â€Å"You promised Dorian,† warned Ysabel. â€Å"And until you do this, I can't leave this godsforsaken place. I want to go home.† I shrugged and turned away. â€Å"We can't always get what we want. Kind of like that song. God knows I haven't.† I'd barely taken one step when a huge gust of wind shot toward my back, whipping my hair in front of me and rustling the tapestries on the wall. I immediately came to a halt and looked back at her. Her expression was both smug and hostile. â€Å"What's the matter? Afraid you can't keep up with me?† Charming. The old baiting tactic. She was hoping to get her way by playing on my pride. It was like the lamest trick in the book†¦except, well, it was kind of working. Okay, it was more than just my pride here. I was succumbing to temptation. With hardly any effort, Ysabel had just nearly knocked me over. It was more than I could do-much more-and her power nowhere near matched mine. If I had that kind of mastery, I could create hurricanes and blow apart buildings. Being in full possession of my magic would make me a god. That shouldn't have mattered. I shouldn't have wanted that†¦but some secret part of me did. Well, not the god part. But certainly the rest. Power like that could help my people, I tried to convince myself. â€Å"Okay. Let's get this over with then.† I acted like getting rid of her was my only concern-not that that wasn't a huge motivating factor. This castle, I was finding, was filled with rooms-most of which didn't seem to have much use. Most of the servants and guards had their own quarters, still leaving a ton of rooms unoccupied and gathering dust. I really only had need of my meeting room and parlor when I was there, and the rest had thus far stayed unused. The parlor was apparently being cleaned, so on impulse, I led Ysabel to one of the abandoned rooms. It had a river-rock fireplace that wasn't going to see use anytime soon, but the striped brocade furniture hadn't accrued too much dust. I flounced down onto a chair, arms crossed and posture defensive. â€Å"Okay. Make this fast.† Ysabel examined her sofa carefully before easing down and spreading her voluminous skirts around her. She crossed her hands on her lap, and if not for the expression on her face that said she wanted to rip me apart, I would have said she looked dainty and ladylike. â€Å"Dorian says I'm to teach you to improve your power with air.† â€Å"Something like that.† She eyed me critically. â€Å"Before we begin, I want it made abundantly clear that I am not doing this by choice.† â€Å"Really? I hadn't noticed.† Her lips curled into a sneer at my sarcasm. â€Å"I don't know what Dorian sees in you. You think you're so clever and witty when really, you're just a plain, uncouth human.† â€Å"Half-human,† I corrected. â€Å"And plain or not, your boyfriend-and, like, every other guy around here-would give up his right arm to get me into bed.† I really shouldn't have provoked her like that. Not only was it mean, it was also going to make this whole magic lesson probably even more unbearable. â€Å"Believe me, it's through no charm of your own. It's only the prophecy and your alleged breeding ability, and once that's run its course, well†¦Ã¢â‚¬  She demurely smoothed the wrinkles out of her skirt, not that there really were any. â€Å"It's only your child anyone will have interest in, not you.† â€Å"Sorry to disappoint you, but there isn't going to be a child.† Not as long as my doctor kept prescribing me birth control pills. Ysabel looked up, face filled with skepticism. â€Å"Oh? Then why are you with the†¦kitsune?† She said kitsune like it was a dirty word. Dorian often did too, though he did it mostly to irritate me. I think Ysabel legitimately looked down on Kiyo. â€Å"If you really are a queen†¦Ã¢â‚¬  She looked skeptical over this as well. â€Å"†¦then why lower yourself by taking him as a consort? The only reason you would have is in the hopes of him fathering a child on you, just as he did Maiwenn. Clearly, he's proven his virility†¦which might be of particular concern to you. You claim you're trying not to conceive, but perhaps that's a lie to hide the fact that you can't.† â€Å"What? That's insane!† â€Å"Whereas I†¦Ã¢â‚¬  She ran her hands proudly along the sides of her hips. â€Å"†¦have already bore two children.† Whoa. That was startling-and a point of pride for her, no doubt, considering the gentry fertility issue. â€Å"To whom?† For some reason, the thought that it might be Dorian bothered me. â€Å"My husband. He was killed years ago in battle.† She frowned slightly, the first sign of soft emotion I'd seen on her. In a flash, her normal bitchy expression returned. â€Å"They live with my parents right now and are healthy and strong. My lord Dorian knows I can undoubtedly have more. That's why he cast you aside for me, forcing you to turn to the kitsune for your fleeting chances of offspring.† â€Å"That's not what Dorian and I-never mind. Look, for the last time, I'm not with Kiyo to get pregnant, okay? I'm with him because I love him.† She sniffed. â€Å"I find that unlikely. If you just wanted a lover for pleasure, you would pine for my lord. No other man can match his skills in the bedroom. When he binds my hands in ropes or paints my flesh, I find no greater ecstasy than-â€Å" â€Å"Whoa, just stop,† I said, holding up both hands. This entire conversation was grating on my last nerve. â€Å"I do not want to hear any details about your sex life with Dorian, okay? That is not part of this deal. No part at all. I don't want to-wait. Did you say something about painting?† A sly smile lit her features. â€Å"My lord has a great appreciation for art. Often, before we make love, I'll lie naked before him and let him use my body as a canvas. He will spend hours adorning my flesh with color and design, often using the paintbrush as a means to pleasure me and-â€Å" â€Å"Okay, okay. I'm sorry I asked.† As the words left my lips, though, it shocked me that I could envision what she was describing perfectly. Dorian's magic lessons had often involved tying me up-the necessity of which I was never 100 percent certain of-and he would spend a large amount of that time weaving the silken cords that bound me. He'd arrange them in interesting patterns and color formations, consumed by the process itself. Somehow, I imagined him being the same with paint. I could see his face lost in thought as he painted flowers or suns or whatever, his clever, sensual hands taking their time as they lightly touched my body†¦. No, not my body. Ysabel's. I had no part of this. â€Å"Let's get this done with,† I said gruffly, hoping she wouldn't guess my thoughts. â€Å"Then we can both go home.† â€Å"Very well then. So, you need my help because you're weak.† â€Å"That's not entirely true.† Jesus Christ. It was all going to be like this, wasn't it? â€Å"I have a lot of power. I know how to control and use water magic-though I guess I could be better. Everyone assumes I must have inherited wind magic too, but so far†¦well, I've only been able to use it once.† â€Å"You may simply be deficient,† she said lightly. Her eyes flicked to my chest. â€Å"Like in so many other ways. But we shall see.† It kind of went on like that for a while. Every other sentence of hers was a barb. Yet, a lot of what she explained to me sounded similar to what Dorian had said, which at least gave me some confidence that she wasn't bullshitting me. In particular, she kept trying to describe how I could reach out and feel different types of air-just as Dorian used to encourage me to do with water. Unfortunately, it had taken a very long time to do that with water, and I felt a little pessimistic about history repeating itself. â€Å"There are different types,† she kept saying. â€Å"Don't try to sense them all. Focus small.† â€Å"What do you mean different types of air?† About an hour had gone by at that point, and I was growing weary and longing for Tucson. â€Å"Air is air,† I argued. â€Å"Spoken like a savage,† she remarked. â€Å"Perhaps we should just end this and tell my lord we fulfilled our promise to try.† I gritted my teeth. â€Å"Just explain it one more time.† She shrugged. â€Å"There are different types of air.† When she offered no more, I began to agree with her. It might be best to abandon this after all. A few moments later, though, she elaborated. â€Å"There is different air around plants. Different air after we exhale. Different air when the land is foggy. Not that you'd understand that in this wretched place.† My eyes widened. â€Å"Gas. Molecules. That's what you mean.† Now she was the one wearing the confused expression. â€Å"The different types of air,† I continued, excited in spite of myself. â€Å"You're saying the magic depends on feeling each kind†¦oxygen, hydrogen, carbon dioxide†¦.† I was speaking a foreign language. Ysabel seemed as confused as ever, but by this point, I was running away without her. It made sense. Dorian's entire teaching method had been built on baby steps. It had started with me sensing a bucket of water and culminated in me using the water in Aeson's body to blow him apart. Starting at the molecular level with air seemed daunting, but the human in me clung to the science. And as I sat there, I began to expand my mind out, much as I did when preparing to use water magic. Air had always remained blank and untouchable, yet as I began to simply focus on a tiny part of it, it became more manageable. I thought about Ysabel's breathing-oxygen in, carbon dioxide out. The world slowed down to a heartbeat, one breath at a time†¦. I'm not sure how long I sat like that. I lost track of where I was or even if she said anything else to me. Only her breathing mattered. At last, I could sense the differences, the changes in the air coming in and coming out. As she exhaled, my mind scooped up the air-the carbon dioxide-leaving her lips and flung it as I would a ball. My control was imprecise; I had no real target. The air brushed past her shoulder, ruffling her hair. â€Å"You†¦you touched it,† she said grudgingly, clearly surprised. I was alive and burning with energy now, too consumed by what I was doing to answer her. Using magic always set my senses ablaze, made the world seem more vibrant and real. I wanted to do the trick again but decided to see if I could work it the opposite way and exert control over a different type of air-oxygen. I waited again to get a feel for her breathing, letting my mind actually sense the different particles in the air. When I felt certain I could grasp the oxygen, I did-just as she was about to inhale. Ysabel began to cough, her hands going to her throat as she tried to draw breath. Sucking the oxygen away meant, well, that she couldn't inhale it. I froze in my surprise at the obvious yet not entirely unreasonable consequences-so much so that I couldn't stop what I did. I was just†¦stunned. I was controlling air. The magic burned through me, and her oxygen just kept flowing away and away. It obeyed my commands, and I didn't have the coherent reasoning to cut it off. After several seconds that felt like years, the realization of what I was doing suddenly penetrated my higher reasoning. I finally cut off the magic, letting go of my hold on her oxygen. By then, Ysabel had fallen to her knees in a desperate attempt to get air-and probably because she was starting to lose consciousness too. At last, free of the magic, she drew a large, shaking breath, face pale and terrified. A few moments later, when she'd recovered herself, she looked at me accusingly. â€Å"You-you tried to suffocate me!† â€Å"No!† I exclaimed, aghast. â€Å"I†¦I didn't. I'm sorry. I wasn't thinking. I was just trying to control the air†¦.† She stood up, and where once her face had been pale, it was now flushed with anger. She was shaking. â€Å"You deceived Dorian. You already know how to use this kind of magic. This is all part of some elaborate plot.† â€Å"No, no,† I said, standing as well. â€Å"I've never used it before-except once and only for a few seconds.† â€Å"I don't believe you. What you just did†¦you couldn't have done that if you were as inexperienced as you pretended to be!† What I'd done-aside from the fact it could have killed her-didn't seem like it was that big a deal. I'd sensed air and moved it. It was hardly a hurricane, and it had taken a lot of concentration-so much so that I didn't think I could repeat it anytime soon. I hardly had the effortless control she exerted over the wind. â€Å"I'm sorry†¦I really am. I didn't mean to hurt you. It was an accident.† Ysabel's only answer was a scowl, just before she stormed out of the room. As she passed me, I thought I saw both fear and tears in her eyes. Despite her bravado, I realized that what had seemed more like anger in her was actually terror. She was in the home of someone she saw as a rival, someone with a reputation as a warrior and a tyrant-and someone who had just tried to kill her. She was trapped here by Dorian's orders. â€Å"A terrifying feat, your majesty,† a voice near the doorway said. I took a few steps forward and saw Shaya standing just outside in the hall, her pretty face grim. â€Å"It was an accident,† I said, surprised at the trembling in my voice. â€Å"I don't like her, but I don't want to hurt her.† â€Å"I know.† Shaya's expression turned both gentle and sad. â€Å"But her fear isn't unfounded. You learned that too quickly and too well.† â€Å"It was easy! It's the same as moving water around or any other type of air.† â€Å"From what I understand, stealing someone's breath-denying them air-is harder than simply creating breezes. You're fighting against life itself. Those who suffocate others in this way usually require great strength and stamina. For you to be able to do it already†¦well, it's a testament to your power-and that's nearly as frightening as the act itself.† The full impact hit me. â€Å"Wait†¦there are people who do that on purpose? Steal someone's air so they can't breathe?† She shrugged. â€Å"Well, to those with the skill, suffocation's an effective weapon.† â€Å"It's sick†¦it's an inhumane way to die.† â€Å"I agree. And most people don't have that kind of strength, so it's not an issue. Among those who do have the strength, most would never consider doing it to another person, enemy or no.† I groaned. â€Å"Well, if that's true, then she has to understand that I wouldn't purposely do it to her either. She has to believe that it was an accident.† â€Å"I don't think you're going to have a lot of luck with that.† â€Å"Why not?† â€Å"Because while most consider such torture unusually cruel, there was one person who enjoyed denying someone their breath-and who frequently used it as a form of execution and entertainment.† Shaya's look was meaningful. â€Å"Tirigan Storm King.†

Contribute to Children and Young People’s Health and Safety Essay

Outline the health and safety policies and procedures of the work setting. Policies and procedures are in place to help protect children and adults within the setting. In the UK early year’s settings must comply with the statutory framework for the Early Years Foundation stage (EYFS). This covers all aspects of the welfare of children in early year’s settings. These include: Safeguarding – Having up to date policies which are available to parents and carers Suitable people – Making sure everyone is suitable to work with children (skills, training, knowledge and qualifications) Suitable premises and equipment – making sure there is indoor and outdoor space and all equipment is fit for purpose. Documentation – Maintaining records about the children, staff / provider, premises, risk assessments and OFSTED registration. Record of policies and procedures. Read more: Explain how health and safety is monitored and maintained essay Settings must also comply with legislations which set out the legal requirements which also help keep everyone in the setting safe in all different situations they may face. Here are some examples of the main legislations relevant to childcare settings: Health and Safety at Work Act 1974 Kitemarking CE product safety marking (product safety markings) Motor Vehicles (wearing of seatbelts)(Amendment ) Regulation 2006 COSHH Regulation 2002 (Labeling of hazardous substances) Reporting of injuries, Diseases and Dangerous Occurrence Regulations 1995 Childcare Act 2006 , Regulation of care (Scotland) and National Care Standards Smoking ban Food hygiene 2006 Manual Handling Operations Regulations 1992 Identify the lines of responsibility and reporting for health and safety in the work setting Within settings, designated people will be responsible for different areas. The ultimate responsibility lies with the manager. Other people within the setting will be in charge other things such as the day to day running , implementation of its policy and practices and specific areas or rooms. A poster showing staff names and their responsibilities will be displayed in the setting on. Everyone has a responsibility to promote safe working practices and maintain a healthy, safe and secure workplace. Policies and procedures along with regulations will ensure people within the setting do this. Within the setting staff will be aware of the person they should report any concerns they have to regarding any health and safety issues. Staff will record any significant information such as medication, incidents or accidents. 1.3 Explain what risk assessment is and how this is managed in the work setting A risk assessment identifies potential risks which could cause harm. Within a setting it would be impossible to prevent every single minor incident however care must be taken to ensure the children within a setting are protected. It is possible to prevent or control most risks. A risk assessment must be taken into consideration for each particular activity or situation and will look at the possible harm or hazard to people or an organization. Settings will implement risk assessments procedures as part of day to day routine. They must ensure proper checks are made. These include checking indoor and outdoor space, materials and equipment. Any trips or outings would also be assessed. They will take note of any hazards. Significant  hazards must be dealt with taking into consideration the number of people who could be involved. Risk assessments take into consideration things which may seem harmless or go unnoticed. Risk assessments look at all different areas of the setting from the equipment within the rooms to the security of the building. For some activities risk assessment may not be necessary each time as they carry low level risk which is unlikely to change however they would still be assessed on a regular basis, such as weekly. If a trip is made outside the setting this must be risk assessed in advance. Within the setting the manager and staff must know who is responsible for carrying out the risk assessments and who is responsible for different areas. They must also understand how the risks assessments will be displayed and how they will be implemented. Outcome 2 be able to recognise risk and hazards in the work setting and during off site visits 2.1. Explain why a safe but challenging environment is important for children and young people It is important for children and young people develop through exploring and trying new experiences. They learn their own limits and must be allowed to push their own level of skill. However they must be supported to ensure this is done in a safe positive environment. Children, unlike adults, have not yet developed the skills and judgment to always make the safe decisions. It is the staff’s responsibility to judge what is safe based on the child’s age and ability. For example a one year old child would not be safe to attempt going down a flight of stairs even though they may try to do so. There will always be a risk however at some point the child must be challenged and learn to walk down the stairs when it is appropriate to the child’s age and ability. If they are not challenged they will grow into an adult who lacked everyday skills and activities. 2.2. Identify the differences between risk and hazard A hazard is described as something which has potential to cause harm and a risk is the likely impact of the hazard associated with the activity. For example a bottle of Milton cleaner is kept in a cupboard within a room at nursery could be a risk; the hazard is that a child could take the cleaner and drink it, however the risk is unlikely to cause harm because the sink cupboard has child safety locks on them. The risk is controlled and a child would not be able to access the cupboard 2.3. Identify potential hazards to the health, safety and security of children or young people in the work setting Every activity and setting carries risk due to hazards. To ensure the children enjoy the full value of the setting or activity hazards and risks should be identified and reduced or eliminated if necessary. The health, security and security of the children or young people are dependent on the actions carried out to minimize the risk of the hazard within setting or off site. In many settings they will have a person who is appointed to deal with health and safety legislation and policies and procedures. Here is a table showing the different types of potential hazards and examples: Outcome 3 Know what to do in the event of a non medical incident or emergency 3.1. Identify non medical incidents and emergencies that may occur in the work setting There are lots of non-medical incidents and non medical emergencies that happen within the setting. Here are some examples: Fire Flood Missing person Unauthorised person in building Water / electric cut Power and heating failure Bomb threat Hazardous spillage Gas leak 3.2. Outline the actions to take in response to the following situations: (a) fires (b) Security incidents (c) emergency incidents Within settings they will have procedures in place to deal with emergency situations. Settings will have drills and practices and everyone will be aware of procedures to follow. Fires Close doors and windows and get the children out of the premises by nearest exit Get the registers / signing in sheets Do not leave children unattended Do not stop to put the fire out Call the fire brigade as soon as possible on 999 Give the operator your telephone number and ask for the fire service Clearly state there is a fire and give the address you are at. Ensure the operator repeats the address The manager will check the building to make sure everyone is out Check registers / signing in sheets to ensure everyone is accounted for Do not enter until it has been confirmed as safe. Security incidents Settings should never have an unknown or unauthorised person within the premises. Logs will be kept for signing in or out of the building and most settings will have secure entrance which requires a code or card to enter. If a person is seen in the building that is unknown they should be asked for identification. If they cannot provide this the manager should be informed. A member of staff should stay with the unauthorised person until the manager comes. Emergency incidents All staff will be aware of procedures for emergencies. Warning signals may need to be triggered immediately, before advising others of the incident. The manager or person in charge should be informed and local services (E.g. Police) contacted if necessary. If needed bring the first aid kit. Contact anyone who will need to be informed e.g. parents. During any emergency everyone should stay calm. Logs should be made of any emergency incidents. Outcome 4 Know what to do in the event of a child or young person becoming ill or injured 4.1 Identify the sign and symptoms which may indicate that a child or young person is injured or unwell SIGNS are changes which can be seen which may suggest illness and diseases†¨SYMPTOMS changes in the body such as feeling sick or having headache Children will normally let you know when they are unwell. They may behave differently or tell you their symptoms such as they feel sick or have pain. They may show obvious signs they are unwell such as vomiting, looking pale or having red cheeks Younger children and babies may not be able to tell you they are unwell. Common signs and symptoms of illness / injury are: †¢ Fever †¢ Loss of appetite †¢ Diarrhea †¢ Vomiting †¢ Constant crying / cries differently †¢ Floppiness / lack of energy †¢ Dry nappies †¢ Seizures. †¢ Breathing difficulties †¢ Cuts / bruises †¢ swelling †¢ Redness / blotchy areas †¢ Rash 4.2. Identify circumstances when children or young people may need urgent medical attention Urgent medical attention should be sought for the following: Difficulty breathing Asthma Attack when inhaler has not worked Floppy / unresponsive child Unconscious child Child is unable to swallow Lips or skin changed colour to grey blue or purple Fits Wounds that will not stop breathing Burns or scalds If after a head injury the child shows confusion / wobbling, headache, vomiting and sight problems Suspicion that a child has meningitis Severe pain Dehydration or lethargic Vomiting blood Frostbite signs Heat exhaustion Consuming poison Raised lumps accompanied by swelling of the mouth or noes Severe vomiting or diarrhea Very high temperature A deep cut which needs stiches or glue Severe bruising Animal bites which break the skin Bites or stings with swelling which make the child ill 4.3. Outline own role and responsibilities in the event of a child or young person requiring urgent medical attention As a member of staff who is training, my main responsibility is to inform a qualified member of staff who would know what to do in an emergency. I would ensure I assisted in any way such as calling for the emergency services or bringing the first aid kit. I would also help reassure any other children in the area. A qualified member of staff is able to confidently carry out any actions required and prevent the effects of the injury or illness becoming worse. If I was alone with a child and unable to get anyone I would stay calm and follow the actions below: Assess the situation – is it safe, who is involved and see what has happened Check the child is breathing – if not take action Ensure any other children in the area are ok Find out what is wrong – call ambulance if necessary Provide immediate first aid Notify parents / carers Talk to the child / children after the incident Outcome 5 Be able to follow the work setting procedures for reporting and recording accidents, incidents, emergencies and illnesses 5.1. Describe the reporting procedures for accidents, incidents, emergencies and illnesses All settings will have their own procedures for recording and reporting incidents, accidents, emergencies and illnesses. Accidents or illnesses If a child is seriously injured, the Health and Safety Executive must be informed. Ofsted define serious injuries as: †¢ Broken bones or a fracture †¢ Loss of consciousness †¢ Pain that is not relieved by simple pain killers †¢ Acute confused state †¢ Persistent, severe chest pain or breathing difficulties †¢ Amputation †¢ Dislocation of any major joint including the shoulder, hip, knee, elbow or spine †¢ Loss of sight (temporary or permanent) †¢ Chemical or hot metal burn to the eye or any penetrating injury to the eye †¢Injury resulting from an electric shock or electrical burn leading to unconsciousness, or requiring resuscitation; or requiring admittance to hospital for more than 24 hours †¢ Any other injury leading to hypothermia, heat induced illness or unconsciousness; or requiring resuscitation; or requiring admittance to hospital for more than 24 hours †¢ Unconsciousness caused by asphyxia or exposure to harmful substances or biological agent †¢ Medical treatment, or loss of consciousness arising from absorbtion of any substance by inhalation, ingestion or through the skin †¢ Medical treatment where there is a reason to believe that this resulted from exposure to a biological agent, or its toxins, or infected material Settings must tell Ofsted and child protection agencies about any serious accidents, injuries, illnesses or death of an adult or child on the premises. The EYFS states: Providers must notify Ofsted and Local Children’s Protection Agencies of any serious accident or injury to, or serious illness of, or the death of, any child whilst in their care, and act on any advice given. An early year’s provider, who, without any reasonable excuse, fails to comply with this requirement, commits an offence Reporting incidents Settings will keep a signed record of all incidents or accidents to the children. The manager will describe which incidents will be recorded. Settings should always include recording for bullying, fighting and any security incidents. The details should be clear and include as much information as possible. This should include details of people involved, people who witnessed it and details of what happened. Outcome 6 be able to follow infection control procedures 6.1. Outline procedures for infection control in own work setting Within the nursery setting we follow rules and advice aimed at preventing the spread of disease and infection. Hand washing and sanitizing is the most important procedure we follow. Both children and staff are encouraged to wash their hands often. Hands are always washed after using the toilet or changing a nappy, before handling or eating food, after messy play or playing outdoors. Soap dispensers, warm water and paper towels are available in all of the rooms. Soap dispensers are used rather than bars of soap as bars of soaps are likely to spread germs. Diagrams showing hand washing procedures are up next to the sink in the staff toilet. Hand sanitizing stations are on the walls at the entrance and in the rooms of the nursery. When changing nappies, staff wears disposable aprons and gloves. After the child has been changed the changing mat is disinfected and wiped down. Dirty nappies are placed in a nappy bag and into a nappy disposal bin which have clinical waste bags in. The bins are emptied at the end of every day and the bags are taken to a secure locked area outside building to await collection. The nursery follows strict rules for food hygiene. For younger children, bottles are sterilized and formula milk is made fresh for each feed. Any  leftover milk at the end of the feed is thrown away. The formula is made up with fresh boiled tap water and cooled in a jug of cold water. The children’s dinner is made on site by another area of the college. The food is transported in a sealed container and taken to the kitchen in the nursery. Whilst food is being served / eaten, staff wear disposable aprons and hair nets. After lunch has been served and eaten the tables are disinfected and the floors are swept and mopped. If anyone in the nursery has sickness or diarrhea, they are not allowed to return to the setting until they have been free from the symptoms for 48 hours. Parents/guardians are advised if there are known cases of infection for example foot and mouth. All the children have their own cups and dummies which are washed regularly to prevent any illness spreading. Th e nursery has cleaners who come in every evening and clean the whole nursery. During the day staff clean as they go and have cleaning Rota’s in place Toys and play areas are cleaned regularly. Spillage packs are also available for vomit / blood / urine etc. The nursery also has laundry facilities for things like blankets, face clothes and bedding. 6.2 Describe personal protective clothing that is used to prevent spread of infection Personal protective clothing includes disposable gloves, masks and single-use disposable plastic aprons. Personal protective clothing is used when coming into contact with body fluids. For example when changing a nappy, cleaning up vomit or dealing with blood. The protective clothing provides physical barriers that prevent potentially infectious materials coming the skin, mouth, nose, or eyes. This can prevent the spread of infection from person to person. Outcome 7 Know the work setting’s procedures for receiving, storing and administering medicines 7.1 Identify the procedures of the work setting governing the receipt, storage and administration of medicines Settings have clear guidelines for receiving, storing and administration of medicine. When receiving medication parents must give written permission and inform staff of any medicine already given to the child. The parents must also be informed of any medicine which has been administered. The settings will implement policies which include: †¢What medication they will administrate – E.g. only prescribed or needed on a regular basis †¢Procedures for who will administer medication – all staff or only the manager †¢Storage of medicine – safe, appropriate place out of reach of children †¢Recording administration of the medication – time needed, time given etc. †¢Training for staff (including specialist training for medical need) †¢Action to take if a child becomes ill or has a long standing condition 7. 2 Explain how the procedures of the work setting protect both children and young people and practitioners. Procedures within the work setting protect children, young people and practitioners. Procedures ensure everyone is aware of the process which must be followed for example how to correctly receive, store and administer medicine. Giving medicine must be given correctly because if it not it could result in taking too much medicine or something the child is allergic to. This could be harmful towards the child. Procedures make sure it is clear for everyone who needs to be aware of allergies and medications. Communication with parents to ensure dosage and times for medicines are known and documented. All staff must follow the strict policies to protect themselves against allegation or incorrectly administering. If procedures are not followed staff may face dismissal, especially if a child ends up very ill.

Rahul Bagga. Mr. Leighton. English 4, Period 3. 09 May

Rahul Bagga Mr. Leighton English 4, Period 3 09 May 2017 Revenge? According to global issues, 12.6 million people die from diseases every year. Similar to diseases, acts of violence takes away lives of 1.6 million people every year as well. Astonishing and shocking news to some, but sadly this is the truth and many people do not choose to step up to help prevent this from happening. In the short story written by Alex Kotlowitz entitled Blocking the Transmission of Violence, a group of ex-gang members go through rehabilitation and training so they can control their emotions when in a difficult situation, as well as prevent future acts of violence from occurring. Furthermore, the so called â€Å"Violence Interrupters† try at all costs to†¦show more content†¦Revenge is many times seen as the solution when one is packed with emotion inside themselves and do not think rationally about the situation. Here the character obviously is disturbed by the fact that he lost a loved one, but does not try to calm himself mentally because his emoti ons took the best of him. Rather than thinking things through, He decided to try to avenge his loved ones death which would not only hurt another’s live, but his as well. It is understandable that he wants to take revenge, but one does not think well when they are emotionally being charged. People who have suffered many times, do not want to be the only ones to suffer, so they try to bring others down with them. But taking revenge will not only keep the cycle of violence moving, it will cause more hurt for the person acting upon their emotions because they will not let their wounds heal with time. Rather they try to take revenge making the wounds more and more hurtful. This is also displayed in Hamlet when he is talking to his father’s ghost. He is raged with his uncle killing his father for the crown and said â€Å"So, uncle, there you are. Now to my word / It is ‘adieu, adieu, remember me’ / I have sworn ( Shakespeare, 1.5. 111-113). Similar to the char acter above, Hamlet is also enraged by the fact that his uncle had killed his past father. Because of this, he is also filled with emotion and does not start the truly think if what to do. Rather, he has already decided that