Horror Of War In Two Poems The Dug-Out and Breakfast Essay Example for Free

Horror Of War In Two Poems The Dug-Out and Breakfast Essay Compare the ways on which two poems from this section convey powerful pictures of life in the trenches. Both of the poems The Dug-Out and Breakfast try to convey a message that is the futility and horror of the war. The Dug-Out shows the horror of the war by accentuating the fear of death in the poem. However, Breakfast transfers the meaning of triviality by describing the hardship in the breakfast time in the trenches. The Dug-Out is written as a single stanza with simple structure and sentence. The poet has chosen this structure to convey striking imagery and therefore to reflect the reality of the war. The poem begins with the adverb why to intrigue the reader and also creates a sense of uneasiness with words ungainly huddled. The poet chooses to use the metaphor of a candle to portray the solders dying as the burning out of a candle. The alliteration guttering gold emphasizes the candle imagery and also shares the pain with the reader. You wonder why is in narrative voice shows the rejection putting a sense of hopeless. The last two lines are in italic and this highlights its importance. The metaphor of fall asleep for ever symbolizes the death and this remind[s] the poet of the other dead[s]. The emotive language such as sullen, drowsy states the fact that these soldiers are bordering on insanity as the fear of death has scarred them mentally. Sassoons view therefore becomes clear, that death has become as commonplace as sleep and war creates fear especially the fear of death for every soldier in any mundane condition. The title of the poem Breakfast has been chosen to put a sense of ordinarily and triviality. Gibson chooses to use a simple verse on Breakfast as well as The Dug-out. The poem begins a simple statement: we ate our breakfast lying on our backs. This straightforward account creates a sense of immediacy and also it begins with a second person narrative we to include the reader. Gibson chooses to use imagery of everyday life to represent the terror and horror of the war. In a betting of a rugby game, Ginger is dead because he raised his head. The killing of person in a betting during the breakfast time clearly illustrates the dreadfulness of the life in trenches. The effect of contrast is emphasized by the semi-colon this makes action more dramatic. The poem begins and ends with the same lines emphasizes that war is in everyday life just as the eating of breakfast and the shelling are also linked. Unlike The Dug-Out, there is no melancholy or emotive language in the poem whereas Giblson frequently use the simple word and slang to create a matter-of-fact tone and this generates a more horrific feeling upon the reader. Both poems portray the horror and fear of the war and make their point that war is futile by conveying powerful imagery in trenches. Both of them use the simple stanza and structure to express the feeling of fear and the sense of immediacy in trenches. The Dug-Out is set in a mood of melancholy by using the pathos language such as the guttering gold candle and describing the dankness that is surrounded with. Nevertheless, Breakfast achieves the same level of horror only by simple language as Gibson cleverly connects the war to the eating of breakfast and therefore emphasizes his idea of triviality and fultility.

A Memorable Experience In Photography :: essays research papers fc

A Memorable Experience in Photography To experience photography, one must have a certain style of photographs to really appreciate or admire. Photographs are picturesque images and views that really catch the interest of the photographer. For me to experience and admire photography, it took me only one photographer to really appreciate the power it has his name is Robert Capa. Robert grew up in Hungary he experienced the political unrest and turmoil. He lived under the oppression of Horthy and knew the kind of anarchy that constitutes war(Images of War 8). Robert's work represented 3 categories: 1. Images of battle. 2. Images of the effects of war. 3. Images of calamity(Photographs,Introduction). His work also had a swift understanding and sympathy for the people who suffer from being caught in war. This type of suffering made it impossible for him to ignore the events which affected their lives(Images of War 9). Robert's belief on photography is "If your pictures are not good enough, your not close enough"(Photographs Foreword). Robert's breakthrough in the field of photography came during the Spanish Civil War. His most famous picture was a snapshot of a courageous man in the act of falling(Capa18). His own special talents and course of world happenings, led him into a role as a professional photographer of war(Images of War20). To really admire and understand Capa, you must have a fascination for dramatic and emotional pictures of war. There probably has been thousands who admire the work he does. Well you can include me in that group of thousands. Capa puts into perspective in just one photograph, something my grandfather will never forget. The Bombing of Pearl Harbor. The photograph that brings back these memories is taken somewhere in Europe during World War II. It's a photograph that has the air full of scores of Japanese warplanes. They are flying over war stricken farmland. As an American citizen, this photograph brings a lot of emotions through me and would have brought greater emotions to my grandfather. I used this photograph because it brings back the memory of my grandfather telling me the story of how he survived that tragic day. On December 7, 1941, my grandfather was stationed at Pearl Harbor as a airplane mechanic. It was still early in the morning and he was still sleeping. Then out of nowhere he heard numerous explosions and then the sirens went off._ _He rushed out of bed and ran upstairs to see what was happening. In the sky he saw scores of Japanese airplanes flying and bombing the area. Some of the airplanes would risk their own lives to do more damage to the ships and the

Policies and Procedures Essay

Policy: A person requesting a release of patient information other than him or her self, needs to correctly identify the reasoning for the information and proper legal documents need to be completed, such as an authorization form signed by the patient. Under certain circumstances, the release of information would not need authorization due to certain federal and state statutes; these are explained in the measurement standards. Objective: To protect patient’s individual rights to the privacy, security, and confidentiality of medical information being released to others by recording authorization information into the database with accuracy and in a timely manner. The patient’s specific authorization forms must be filed within 24 hours of admission. Measurements: 1. The patient must disclose their written authorization by completing an authorization form prior to the release of patient information to a health care provider, an individual who assists a health care provider in the delivery of health care, or an agent of the health care provider. 2. If the patient decides to complete an authorization form, we are required to honor that authorization and, if requested, provide a copy of the recorded health information unless the health care provider denies the patient access to health information. 3. To be valid, a disclosure of authorization must be in writing, dated, and signed by the patient. Identify the nature of the information to be disclosed, identify the name and institutional affiliation of the person to whom the information is being disclosed, identify the provider and the patient, and contain an expiration date that relates to the patient. 4. A patient may revoke in writing a disclosure authorization to a health care provider at any t ime unless disclosure is required to effectuate payments for health care that has been provided or other substantial action has been taken in reliance on the authorization. 5. A health care provider or facility may disclose patient health information without the patient’s authorization in the event of the recipient needs to know the information because the provider or facility reasonably believes the person is providing health care to the patient. 6. Disclosure without authorization may also be made to federal, state, or local law enforcement authorities upon receipt of a written or oral request made to a nursing supervisor, administrator, or designated privacy official, in a case in which the patient is being treated or has been treated for a bullet wound gunshot wound, powder burn, or other injury arising from or caused by discharge of a firearm. 7. A health care provider shall maintain a record of existing health care information for at least one year following a receipt of an authorization to disclose that health care information under RCW 70.02.040, and during the pendency of a request for examination and copying under RCW 70.02.080, or a request for correction or amendment under RCW 70.02.100. 8. The authorization must be entered into the database within the first 24 hours of completion; therefore, other staff members in the facility such as providers and other members of the ROI department will know the limits to the release of that patient’s information if requested upon. State and Federal Statutes: RCW70.02.020, RCW 70.02.030, RCW 70.02.040, RCW 70.02.050, RCW 70.02.160.

Markedness Marked and Unmarked Forms in Language

In many areas of language study, such as structural linguistics,  markedness is  a state in which one linguistic element is more distinctively identified (or  marked) than another (unmarked) element. As Geoffrey Leech observed, Where there is a contrast between two or more members of a category such as a ​number, case, or tense, one of them is called marked if it contains some extra affix, as opposed to the unmarked member which does not. For example, the root verb walk is unmarked, and the past-tense of the verb is walked, which is marked by having the suffix -ed attached to it to indicate that its past tense (also called inflection). Words can also be marked to show their gender. Different Kinds of Markings on Words Root words take on affixes, such as suffixes and prefixes, and are thus this way marked—theres additional meaning attached to the word just by putting the affix onto the root or base word. For example:   Plurality: Plurals are made by adding the suffixes -s or -es onto nouns or changing the spelling, such as in family - families. Tense: Different tenses are shown through suffixes such as -ed or -d to put a root word in the past, as illustrated above.   Case: Nouns show possessive case with the addition of an s or an apostrophe (depending on the style guide followed), as in Lincolns or Jesus.   Gender: If a word shows you the gender of the animal, for example, its marked. Compare lion with lioness or stallion with mare.  Three of the four words in the preceding sentence are considered marked, even though only one has an affix (in this case, -ess, applied to some words to make them the female version). As language becomes more gender neutral, some terms are dropping out of use, such as policewoman being replaced by police officer or stewardess being replaced with flight attendant. Polarity: You can show the opposites of some words by marking them with a prefix. Examine, for example, the difference between consistent and inconsistent—or even the topic of this article, words that are marked or unmarked. The pairs have a marked and an unmarked term; just look for the prefix in these examples. Superlatives: Compare adjectives old,  older,  and oldest.  The marked versions are the superlative older and oldest because they have a suffix. They are less neutral than the term  old, which can be completely neutral in the asking of someones age, to wit, How old are you? The Theory and Its Fields of Study The terms marked and unmarked were introduced by Nikolai Trubetzkoy in his 1931 article on Die phonologischen Systeme. However, Trubetzkoys conception of markedness applied exclusively to phonology, though its not a crystal-clear science in that field of study, as author  Paul V. De Lacy explains:  Ã‚   A great deal of skepticism about  markedness  and the variation in what is considered unmarked seems to be due to three apparent problems: (a) some markedness diagnostics do not work all the time; (b)  marked  elements are  favoured  for some phenomena, and (c) markedness distinctions can be ignored. Sources R.L. Trask, Dictionary of English Grammar. Penguin, 2000 Geoffrey Leech, A Glossary of English Grammar. Edinburgh University Press, 2006 Edwin L. Battistella, Markedness: The Evaluative Superstructure of Language. SUNY Press, 1990 Sylvia Chalker and Edmund Weiner, Oxford Dictionary of English Grammar. Oxford University Press, 1994 Paul V. De Lacy,  Markedness: Reduction And Preservation in Phonology. Cambridge University Press, 2006 William Croft,  Typology and Universals, 2nd ed. Cambridge University Press, 2003