Shakespeares Rosalind Essays - British Films, As You Like It

Shakespeare's Rosalind The main themes of "As You Like It" are the pastoral ideal and the ideal of romantic love. Forest of Aden is the primary setting where these themes develop. Nature serves as a refuge from society where we can find solutions to injustice and unhappiness. This play is a comedy and thus has a happy ending but it is not a fairy tail. Shakespeare highlights the difference between reality and illusion. Rosalind embodies the sensibility, the humor and the kind of love that leads to a happy, harmonious living. She brings the plot to a resolution when four contrasting romances end in marriage. The focus of the play is her romance with Orlando. Rosalind wants to find a lover without losing her sense of self in the process. Rosalind answers the questions about love, which arise during the play. She is a lovesick maiden and yet she remains an intelligent, witty, and strong character. Rosalind is also a good judge of character. She sees through Jaque's seemingly deep thoughts and recognizes the wisdom of clown Touchstone. Furthermore, she cleverly uses her disguise to get to know Orlando and educate him about love. The meeting of Orlando and Rosalind is the most important event in Act 1 of the play; it is love at first sight. Celia and her cousin talk about falling in love just before the wrestling match. From henceforth I will, coz, and devise sports. Let me see, what think you of falling in love? Her words indicate that Rosalind is ready to face the danger of falling in love. She infers that her father would approve of Orlando because her father approved of his father Sir Rowland. Their meeting reveals a vulnerable side of the Rosalind as she gives him a chain, says, "Gentleman, wear this for me" and waits for him to continue the conversation. In Act Shakespeare draws parallels between Rosalind's relationship with Celia and Orlando's relationship with Adam. When Duke Fredrick banishes his niece from the court, Celia makes a quick decision to go to the Forest of Aden with her cousin and to look for her uncle. This illustrates the degree if love and loyalty between them. Orlando's elder brother Oliver denies him education. When Orlando is leaving for the forest Adam wants to go with him to serve and protect him. Master, go on, and I will follow thee To the last gasp with truth and loyalty? Yet fortune cannot recompense me better Than to die well and not my master's debtor. (2.4. 70-75) Soon after entering the Forest of Arden Rosalind discovers love poems that Orlando hang on the trees. She loses self-control as she reads them one after another. When she finds out that Celia has seen Orlando she is very excited and cannot stop asking her questions, "What did he when you thou saw'st him? What said he? How looked he?" (3.2. 218-20) For a brief period of time, she becomes a victim of infatuation like those she scorns. She is betrayed by something she feels and finds it difficult to admit the truth in love. Shakespeare thus illustrates that she is not ideal, that she has flaws like all other human being. Rosalind's clever idea to dress up as Ganymede enables her to have a double identity, which will give her the opportunity to test Orlando's love. Her disguise probably prevents their immediate marriage. "I will speak to him like a saucy lackey and under that habit play the knave with him." (3.2.292-93) She does not however merely play games, Rosalind she teaches Orlando how to love her. He must keep his promises and respect her thereby proving that his love is real. She takes a cynical view of romantic love to tease Orlando. Rosalind begins to tire of acting after the momentary drop of her guise when she faints at seeing Orlando's bloody handkerchief. When Orlando proves himself to Ganymede and saves the life of his brother Rosalind is ready to make a commitment to him. She does not dispose of her disguise until then because she realizes that only time will show if they are really in love. Time refines their passion for one another. Rosalind is a philosopher Rosalind like

Auschwitz Facts

Auschwitz Facts Auschwitz, the largest and deadliest camp in the Nazi concentration and death camp system, was located in and around the small town of Oswiecim, Poland (37 miles west of Krakow).  The complex consisted of three large camps and 45 smaller sub-camps.   The Main Camp, also known as Auschwitz I, was established in April 1940 and was primarily used to house prisoners who were forced laborers.   Auschwitz-Birkenau, also known as Auschwitz II, was located less than two miles away.  It was established in October 1941 and was used as both a concentration and death camp.   Buna-Monowitz, also known as Auschwitz III and â€Å"Buna,† was established in October 1942.  Its purpose was to house laborers for neighboring industrial facilities.   In total, it is estimated that 1.1 million of the 1.3 million individuals deported to Auschwitz were killed.  The Soviet Army liberated the Auschwitz complex on January 27, 1945. Auschwitz I – Main Camp The initial environs where the camp was created had formerly been a Polish army barracks.The first prisoners were primarily Germans, transferred from the Sachsenhausen Camp (near Berlin) and Polish political prisoners transferred from Dachau and Tarnow.Auschwitz I had a single gas chamber and crematorium; however, it was not heavily utilized.  After Auschwitz-Birkenau became operational, the facility was turned into a bomb shelter for Nazi officials who were located in offices in the vicinity.At its peak, Auschwitz I contained over 18,000 prisoners – mostly men.Prisoners in all of the Auschwitz camps were forced to wear striped attire and have their heads shaved.  The latter was presumably for sanitation but also served the purpose of dehumanizing the victims.  As the Eastern Front came closer, the striped uniforms often fell by the wayside and other attire was substituted.All of the Auschwitz camps implemented a tattoo system for prisoners who remained in the camp syste m.  This differed from other camps which often required the number on the uniform only. Block 10 was known as the â€Å"Krankenbau† or hospital barrack.  It had blacked out windows on the first floor to hide evidence of medical experiments that were being performed on prisoners within the building by doctors such as Josef Mengele and Carl Clauberg.Block 11 was the camp prison.  The basement contained the first experimental gas chamber, which was tested on Soviet prisoners of war.  Between Blocks 10 and 11, a closed courtyard contained an execution wall (the â€Å"Black Wall†), where prisoners were shot.The infamous â€Å"Arbeit Macht Frei† (â€Å"Work Shall Set You Free†) gate stands at the entrance of Auschwitz I.Camp Commandant Rudolf Hoess was hanged just outside Auschwitz I on April 16, 1947. Auschwitz II Auschwitz Birkenau Built in an open, swampy field less than two miles from Auschwitz I and across the main set of railroad tracks.Construction on the camp initially began in October 1941 with the initial intended purpose of being a camp for 125,000 prisoners of war.Birkenau had approximately 1.1 million people pass through its gates during its nearly three-year existence.When individuals arrived in Auschwitz-Birkenau, they were forced to undergo a Selektion, or sorting process, in which healthy adult persons who were desired for work were permitted to live while the remaining elderly, children and ill people were taken directly to the gas chambers.90% of all individuals who entered Birkenau perished – an estimated 1 million people total.9 out of every 10 people killed in Birkenau were Jewish.Over 50,000 Polish prisoners died in Birkenau and nearly 20,000 Gypsies.Separate camps were established within Birkenau for Jews from Theresienstadt and Gypsies.  The former was established in the event of a Red Cross visit but was liquidated in July 1944 when it was evident that this visit would not occur. In May 1944, a train spur was built into the camp to aid with the processing of the Hungarian Jews.  Prior to this point, victims were unloaded at a rail station between Auschwitz I and Auschwitz II.Birkenau contained four, large, gas chambers, each of which could kill up to 6,000 individuals per day. These gas chambers were attached to crematoriums that would burn the masses of dead bodies. The gas chambers were disguised as shower facilities to deceive the victims in order to keep them calm and cooperative throughout the process.The gas chambers utilized pruissic acid, trade name â€Å"Zyklon B.†Ã‚  This gas was commonly known as a pesticide in orchards and for prisoner clothing.A portion of the camp, â€Å"F Lager,† was a medical facility that was used for experiments as well as limited medical treatment of camp prisoners.  It was staffed by Jewish prisoner-doctors and staff, as well as Nazi medical staff.  The latter was primarily focused on experimentation.Pr isoners in the camp often named sections of the camp themselves.  For example, the warehousing portion of the camp was known as â€Å"Kanada.†Ã‚  An area slated for camp expansion that was swampy and mosquito-ridden was called â€Å"Mexico.† An uprising occurred in Birkenau in October 1944.  Two of the crematoriums were destroyed during the uprising.  It was staged largely by members of Sonderkommando in Crematoriums 2 and 4.  (The Sonderkommando were groups of prisoners, mainly Jewish, who were forced to staff the gas chambers and crematoriums.  They received better food and treatment in return, but the gruesome, heartbreaking work caused them to have a four-month turnover rate, on average, before meeting the same fate as the victims they processed.) Auschwitz III Buna-Monowitz Located several miles from the main complex, Auschwitz III bordered the town of Monowice, home of the Buna synthetic rubber works.The initial purpose for the camp’s establishment in October 1942 was to house laborers who were leased out to the rubber works.  Much of its initial construction was funded by IG Farben, a company that benefited from this slave labor.Also contained a special Labor Education Department to reeducate non-Jewish prisoners who did not follow camp structure and policy.Monowitz, like Auschwitz I and Birkenau, was surrounded by electrified barbed wire.Elie Wiesel spent time in this camp after being processed through Birkenau with his father. The Auschwitz complex was the most notorious in the Nazi camp system.  Today, it is a museum and educational center that hosts over 1 million visitors annually.

Foreshadowing in Fiction Tricks to Keep Your Readers Guessing - Freewrite Store

Foreshadowing in Fiction Tricks to Keep Your Readers Guessing - Freewrite Store Types of Foreshadowing As literary devices go, foreshadowing is a technique that every writer needs to have in their toolbox. Everyone from literary greats like William Shakespeare and J.K. Rowling to screenplay masters like Alfred Hitchcock has used foreshadowing to create gripping plot twists that leave insightful readers (and viewers) experiencing that satisfying ‘ah-ha’ moment.If you’re not quite sure exactly what foreshadowing is, then here’s a definition: Foreshadowing creates tension or adds suspense to your story, by laying a kind of trail of breadcrumbs that your readers may (or may not) pick up on. If you’ve read a good novel recently, it’s likely that the author threw in some elements of foreshadowing. When you’re reading, foreshadowing is found in seemingly random or innocent scenes that only make sense when the plot begins to be resolved.When you’re writing, however, there’s nothing random or innocent about foreshadowing. You have to plan elements of foreshadowing so that they don’t appear too obvious - but nor do you want them to be so subtle that none of your readers pick up on the juicy breadcrumbs that you’re leaving for them. So, how does foreshadowing work when you’re writing? Types of Foreshadowing Every author has their own style of writing - so the exact way that you approach foreshadowing will depend on your style. However, there are two main types of foreshadowing that you can use in your stories - direct foreshadowing and indirect foreshadowing. Direct Foreshadowing If you want to keep your readers hooked, then direct foreshadowing is a great way to go about it. As its name implies, the kinds of hints (or breadcrumbs) you drop into your story are like little nuggets of information that prompt your readers to ponder about how those nuggets fit into the story and where they might ultimately lead. Clever and intuitive readers may even be able to guess how the plot will be resolved because of direct foreshadowing.Within direct foreshadowing, there are different subtypes that you can use, such as: Pre-scene This is a really popular type of foreshadowing. These scenes are often short and relatively downplayed, but reveal something that will turn out to be essential for a plot twist or resolution later in the story. Readers often become really adept at spotting the pre-scenes, so if you want to use these successfully you need to be careful not to give too much away. Effective pre-scenes convey necessary information but compel your readers to keep reading to either find out why the details are important or to see whether their suspicions are correct.For example, in your novel, you could have a scene that opens in a crowded bar. Your hero sits at the bar, enjoying his drink and the company of a beautiful young woman. Finishing his drink, your hero gets up to visit the restroom. Immediately, another man approaches the young woman and slips her a piece of paper before leaving the bar. Your hero returns, the couple leaves the bar. Your readers instinctively know that the young woman is either involved in something suspicious or not as innocent as she seems - they just don’t know what is going to come of it. Name Dropping If a character is later going to play a really important role in your story, or a particular place is going to be significant, name dropping can foreshadow the future events and signal to the reader that this character or place is important. They won’t know why it’s important, but it’s another breadcrumb that you’re leaving for them.For example, if you have your hero remark to another character that he’s going to visit a friend the next day, but doesn’t name the friend or the place, your readers wouldn’t really think much about it. If, on the other hand, your hero says, instead, that he’s meeting Charlie McGuiness at Holy Rood Chapel, then your readers are more likely to recognize these details as being in some way significant. Prophecy This is an old type of foreshadowing that has been used by the likes of Orson Welles and William Shakespeare. Essentially, it’s a way of directly telling your readers that there’s going to be a specific kind of dramatic event occurring at some point. Some writers see this is an outdated and counterintuitive practice, so it isn’t as common as it used to be - but it can still be powerful. You’re telling your readers that something specific is going to happen - but they don’t know when, or how, or what other surprises you have in store, so you keep them locked in a sense of anticipation.Here’s an example, from William Shakespeare’s Macbeth (Act 1, Scene 3): "All hail, Macbeth, thou shalt be king hereafter![†¦]Lesser than Macbeth, and greater.Not so happy, yet much happier.Thou shalt get kings, though thou be none:So all hail, Macbeth and Banquo!Banquo and Macbeth, all hail!" Indirect Foreshadowing If you’re more interested in subtlety than feeding your readers clues, then indirect foreshadowing is the way to go. You’re in control over the level of subtlety, and with this type of foreshadowing, although your readers may recognize the breadcrumbs as significant, they’re not likely to be able to figure out exactly what you’re hinting at. Personally, as both a reader and a writer, I find indirect foreshadowing more rewarding. In the modern age of social media, some direct foreshadowing looks more like clickbait and I prefer to be more subtle when I’m writing. Let’s look at some types of indirect (subtle) foreshadowing: Innocuous Statements These are the type of foreshadowing that may stick in your readers’ minds but only make sense when all is revealed later in the story. It’s less likely to cause your readers to be gripped, but when you have established yourself as a writer and have a following of fans, your fans will pride themselves on being able to spot the innocuous statements that you drop into your writing and try to guess what the outcome will be.Here’s an example of innocuous statements at work. In Star Wars: Episode II, Obi-Wan Kenobi remarks to Anakin Skywalker: â€Å"Why do I get the feeling, you will be the death of me?†. It’s only later in the series that the hidden foreshadowing makes sense. Pathetic Fallacy When I first came across this term I honestly had no idea what it could mean. Once I figured it out, however, it became one of my favorite subtle foreshadowing techniques. Pathetic fallacy refers to the way that you can give human emotions to things that are not human - like the weather, for example.There are tons of ways that you can use this technique to foreshadow future events. An icy gust of wind may be used to evoke a sense of foreboding or convey that something chilling is going to happen, for example. Likewise, a rainbow appearing during a ferocious storm may suggest that there is a change coming, or something more positive will emerge out of trouble.Charles Dickens uses the weather in Great Expectations to convey something of what the hero, Pip, is feeling. Can you figure out what Dickens is trying to foreshadow?:"So furious had been the gusts, that high buildings in town had had the lead stripped off their roofs; and in the country, trees had been torn up, and sails of wind mills carried away; and gloomy accounts had come in from the coast, of shipwreck and death." Object Placement Famously, Anton Chekhov once declared that â€Å"If in Act One you have a pistol hanging on the wall, then it must fire in the last act†. While he was undoubtedly referring to playwriting, the same applies to any kind of story - and, ultimately, this is a tool that can be used to foreshadow really effectively.What this means is that if you have something pretty huge happening late on in the story, you can foreshadow it really subtly by making some kind of allusion to it early on. In Chekhov’s example, you would put some kind of emphasis on a pistol that would later be pivotal to the plot. This is a hugely popular technique - you surely must have read a book (or ten) where there’s a mention of an object that doesn’t really seem to make total sense in the current scene, but then, later, you get that ah-ha moment of realizing, â€Å"oh, that’s why it was there!†There are different ways you can use this technique, too. Let’s look at a coup le of examples:ââ€"  Your hero is driving to the airport to pick up his fiance who is returning from an overseas business trip. He’s talking to his business partner on the phone and glances at the fuel gauge, which reads close to empty and then continues with his conversation. In this scene, it’s more the absence of something (i.e. a full fuel tank) that you’re foreshadowing. You could use this with medication bottles, or show your character forgetting an object, too.ââ€"  Your heroine is sitting at her desk in her university office, grading term papers. Her pen runs out, and she opens a drawer to get a new one. In the drawer, there’s an unopened envelope, yellow with age, with a name written on it. She closes the drawer quickly. Your readers will remember the letter - but they don't know why it’s important. Effective Use of Foreshadowing The type of foreshadowing that you use and the way that you use it will depend on what you want to achieve with it. Looking to build suspense? Then you should use more direct foreshadowing (so your reader’s don’t miss the clues). If you want to foreshadow a future event, however, it’s best to take a more subtle approach with indirect foreshadowing.One mistake that many writers make is using too much foreshadowing. A little bit of foreshadowing is better than a lot of it if you use it well. That means you need to get more selective about what you use foreshadowing for, and where in your story you use it.Major turning points in your story should be your foreshadowing priority. There are usually around 3 turning points in a story arc: the point at which your character’s life is affected by something in a significant way; the midpoint in the story arc where your character starts to question themselves in some existential kind of way; and the climax of the stor y.Generally, there will be more foreshadowing in the first half of your story, with the ‘ah-ha’ moments coming in the second half. One good means of getting a good balance (and making sure you’re not going overboard on the foreshadowing) is to use a plot diagram to pinpoint the best moments for foreshadowing for the major turning points in your story. Practice Your Technique for Gripping Foreshadowing Don’t expect to master foreshadowing instantly. Masters of suspense like Stephen King and Alfred Hitchcock perfected their craft over many years - so you should expect to spend time practicing your foreshadowing skills. It’s a good idea to try to identify foreshadowing when you’re reading your favorite authors’ novels, too, as that way you’re able to learn from the masters themselves. As you’re reading, ask yourself why their foreshadowing techniques are so effective and practice replicating the techniques yourself.Whether you prefer to use direct or indirect foreshadowing, you can keep your readers guessing and build your confidence until you are a master at foreshadowing, too.

Open Ended, Must Be Related to Deserts Research Paper

Open Ended, Must Be Related to Deserts - Research Paper Example Though the Death Valley reaches 134Â °F, under fair weather the Mojave Desert appears to boast off its sparing potential to allow some two hundred indigenous species of plant to thrive upon its creamy vastness, alluding that somewhere, somehow, beauty and hope toward conducive livelihood still exist. With salt flats and metal deposits, one essentially wonders how this might bring industriousness out of probable inhabitants yet seeing the way history has shaped this form of land, it amply seems more rewarding to preserve the features of classical worth which the concerned multitude are aware of. Given the seldom opportunity to explore the Mojave Desert, I would definitely run into the trees and the rest of the thriving nature around, not minding how less diverse they have often been. To bask in the beating sun in the day and feel the heart of the desert in the manner by which its collective substance responds to rays and rays of energy should prove quite worthwhile. Knowing that it i s this side of the world and nature that is rarely visited by leisure or feel-good tripping moments, people must be pondering of an advantage to acquire from the contemplative scenario of the Mojave Desert by night. In my case at least, there could be anticipating a point of pure meditation, if not bliss, sitting outside a humble tent or simply holding breath to give way to a unique sensibility and connection with the sound of certain exotic creatures lurking nearby. By Sylvia Plath’s creative description of its truth, vivid and figurative alike, in the poem ‘Sleep in the Mojave Desert’, she expresses ‘I think of the lizards airing their tongues - In the crevice of an extremely small shadow – And the toad guarding his heart’s droplet – The desert is white as a blind man’s eye, Comfortless as salt. Snake and bird doze behind the old masks of fury.’ Consequently, one recognizes the desert’s wild life that is rather mo re sensitive and reserved than aggressive. It might just be in this occasion that the Mojave Desert reveals its sentimental value before it transforms to another kind of freedom at daybreak. Imagining myself lying on such a spot of expanse to experience a special respiration away from the urban community within this setting, I could picture an atmosphere filled with throbbing as if the desert possesses a spiritual force inviting a desert or every remainder of loneliness in me to join its contained solace then grasp further an understanding of its treasure or capacity for comfort and salvation despite the strangeness of immensity attached with it. The Mojave Desert is never silent though it will never communicate in terms of the human language yet it certainly speaks from the soft spot channeled through the sound, smell, and touch made by the breathing ground, the peculiar bushes, and other plants with all the living reptilian creatures in its keeping. For both events whether sunup o r sunset, it occurs that my physical presence in this desert would amount to a profound engagement with the earth in the purest of natural state, undisturbed by any trace of mankind. While the chief indicators of the desert as in the Joshua-tree and the Desert Spanish Bayonet, a narrow-leafed yucca show the Mojave Desert’s generosity in maintaining their prominence, such splendor I think is in every way a privilege to be part of especially as it radiates

Interpret Everyday Use by Alice Walker according to guidlines Essay

Interpret Everyday Use by Alice Walker according to guidlines - Essay Example Moreover, when she mentions the burning down of their previous house, she mentions Dee’s response to the mishap, â€Å"Why don't you do a dance around the ashes? I'd wanted to ask her. She had hated the house that much.† Thus, Dee comes across as rather reckless and selfish while Mama bears the consequences of her daughter’s nature. On the other hand, certain situations mentioned in the story tilt the scale in favor of Dee/Wangero. Mama, while thinking of Dee’s hatred for their house, remembers her response, â€Å"She wrote me once that no matter where we "choose" to live, she will manage to come see us.† Thus, although haughty and tweaked with vanity, Dee cared about her mother, understood her condition and in a way supported her by reassuring her of her support. Another instance shows that Dee, although has grown apart from her mother and sister, missed them and cherished their memories. This is proved by the following lines in the story in which Dee clicks their pictures to take with her. â€Å"She turns, showing white heels through her sandals, and goes back to the car. Out she peeks next with a Polaroid.† However, viewing both sides, the character of Mama is undoubtedly more ‘sympathetic’, and the one which I consider the ‘right one’. The reason for this is that, she comes across as a sad, unfulfilled woman whose dreams remained just that – dreams. ... Maggie and Dee were as far apart as two individuals sharing the same blood line can be. Dee was confident, successful and a vivacious extrovert leading an urban lifestyle. In contrast, Maggie was shy, unsure of her appearance, and didn’t know life outside the realms of her home. In spite of the contrasting nature of their lives, the two girls did care for each other. This is evident in the way Maggie, although angry at first, agrees to give Dee the quilts that were saved for her, â€Å"She can have them, Mama.† Moreover, Dee while going away gives Maggie some heartfelt ‘sisterly’ advice, â€Å"she turned to Maggie, kissed her, and said, you ought to try to make something of yourself, too, Maggie.† Both girls were similar in the way they cared for their mother, in the ways they found suitable in accordance with their demeanor. Also, both had similar choices as both of them found the ancient quilts attractive. Although both saw their value differently, they shared the desire to own the quilts. A first person narrator refers to a person who is himself a character in the story. Such narration can be biased at times because the person is closely involved in the story and thus certain situations can alter his view, thereby altering the overall view of the narration. In this story, Mama is the first person narrator and although she lays down the facts and the events as they occurred, we cannot completely rely on her observance and conclusions, as, at some point of time, her narration is sure to be colored with her personal views, thus altering the course of realization of the reader. As she is the one who narrates, we get to see her side of story the best. Also, we get to know Maggie and Dee through her perspective and her judgment of good or bad is passed

Legal clinical choice Essay Example for Free

Legal clinical choice Essay The case of Harriton v Stephens tackled the controversial wrongful life actions. It sought to finally pass upon the validity of the said action under Australian law. Such actions are controversial and complex due to the questions of law and public policy surrounding it. The determination of the issue is of great importance, especially now, because of the recent developments such as abortion becoming a legal clinical choice if it was made to avoid chronic disabilities due to in utero related deceases. This paper will seek to provide an analysis of the finding of the High Court: namely, the majority’s proposition that wrongful life actions can not prosper because the victim could not demonstrate that he or she had suffered any harm capable of being understood or assessed by the court as well as Kirby’s proposition that denying the existence of wrongful life actions erects an immunity around health care providers whose negligence results in a child who would not otherwise have existed, being born into a life of suffering. Section 2. Facts Alexia Harriton was born â€Å"profoundly, incurably and tragically disabled†. The disability was due to her exposure to the rubella virus before she was born. Olga Harriton, the mother of the appellant, called Dr. Max Stephens, a general practitioner, to treat her for an illness. She informed him that she was concerned because she was getting rashes and fever, two symptoms of the rubella virus. She further informed the doctor that this was a problem because she believed herself to be pregnant. Under the advice of the doctor, Mrs. Harriton underwent blood testing to determine if she had the rubella virus and to check if she was indeed pregnant. Upon the release of the results, she contacted Dr. Paul Stephens, the son and partner of Dr. Max Stephens, to present the results of the blood testing. He concluded that she was pregnant but was not suffering from the rubella virus. However, it would seem that Mrs. Harrington was misdiagnosed by Dr. Paul Stephens. As a result, Alexia was born suffering from mental retardation, blindness, deafness and spasticity, all of which are effects of the exposure to the rubella virus. Alexia filed a wrongful life action against Dr. Stephens under the claim that had he been diligent in his duty as a doctor, he would have correctly diagnosed Mrs. Harriton who would, as a result of the information about the effects of the virus to the child and the option to undergo abortion, have aborted the fetus avoiding the wrongful birth of Alexia. The case was dismissed in the Supreme Court of New South Wales and the Court of Appeal, before it was brought to the High Court of Australia, which ultimately dismissed the appeal. Six judges ruled in favor of the respondent. Kirby J was the lone dissenter. Section 3. Analysis A. Duty of Care The question of whether or not Dr. Stephens owed Alexia a duty of care by providing Mrs. Harriton with advice, which would ultimately lead to her being aborted is the principal issue in this case. It is the opinion of the majority that there is an inextricable link between the existence of a duty of care and the existence of a legally cognizable damage suffered by the plaintiff in such a way that if the latter is absent, the former can not exist. The majority’s reason for this proposition is that damage is the gist of an action for negligence. The existence of a duty of care presupposes that damages would result to the offended party as a result of the negligence of the party owing the duty of care. The lone dissenter, Kirby J, on the other hand, did not believe that damage to the plaintiff should be proved in order to establish the existence of a duty to care. Contrary to the opinion of the majority, he did not believe that there was a legal relationship between the two concepts. His Honour was content to conclude that the case fell within the established duty of care that a doctor owes to a foetus to avoid causing it prenatal injury. Analyzing both approaches, it can be observed that damage is an issue that looms largely in the ratio of the majority as compared to the ratio of Kirby J’s opinion. As a result, the absence of proof of injury according to the â€Å"well-settled and well understood principles† of tort law was the main reason why the action failed.

The Development of the Torpedo during World War I :: Torpedoes Torpedo Research Papers

The Development of the Torpedo during World War I The year is 1942, and German U-boats are wreaking havoc on allied shipping to Britain; the vital lifeline which allows the island nation to survive. Unchallenged, they sink hundreds of the merchant vessels which carry the desperately needed food, arms, and other equipment that is necessary for Britain's survival. They are silent and deadly; undetected until it is too late. With a loud deafening blast, a torpedo impacts the center of a ship, breaking its back. The other ships try to run, as their crews search for the unseen attacker by the glow of the ship slipping under the water to her final resting place. Cries of terror pierce the sky, as a ghostly shadow is seen heading for the flagship. The ship rolls to the side as it turns as hard as it can. The torpedo misses, but a second blast pierces the sky, disabling the ship's rudder and propellers. Tracking the submarine with its sonar, a destroyer escort moves at full steam to counter the threat. Once over the spot where the submarine lurks, depth charges are shot over the railing, and they sink quietly in the water to bring the fight back to the concealed enemy. As each detonates, the water bulges over top of where they were dropped. Knowing when it has met its match, the German U-boat retreats and the battle is over until another day. The histories of many weapons of World War II are well known, such as that of the tank and the airplane. However the torpedo is one that is often talked about, yet its history remains in the shadow of these other well known weapons. In an effort to learn more about this topic, I interviewed my grandfather. During the war, he worked in a group developing the sonic controlled torpedo. For many years, he was not able to tell anyone what he did, including his parents. It was not until several years ago when he saw a documentary on the television which had a segment that described the development of the torpedo did he feel that he could talk about what he really did during the war. I first began by asking him what he did during the war. He told me that he led a group who was developing sonic controlled torpedoes, which were designed to follow sound made by a ship or a submarine's propeller.