Removal of the Cherokee Essay -- essays research papers

In The Cherokee Removal, Perdue and Green show the trials that the Cherokee faced in the years from 1700 to 1840. This book shows how the Americans tried to remove these Indians from the southeastern part of the United States. The Cherokees tried to overcome the attempts of removal, but finally in 1838, they were removed from the area.   Ã‚  Ã‚  Ã‚  Ã‚  The Cherokees lived in the valleys of rivers that drained the southern Appalachians (Perdue, 1). The British first came into Cherokee country in 1700. They came for two major reasons: deerskins and war captives. They brought guns and ammunition, metal knives, hoes, hatchets, fabrics, kettles, rum, and trinkets. They took the Cherokee and made them slaves. The British built two forts to protect the Cherokees while they were fighting the enemies of the British. The Cherokees entered the French and Indian War on the side of the British (Perdue, 6). Attacks on Cherokees by white frontiersmen and duplicity by colonial officials caused the Cherokees to shift their allegiance to the French. During the war, the British destroyed many Cherokee towns.   Ã‚  Ã‚  Ã‚  Ã‚  The war the American Revolution caused many British settlers to push westward. These settlers began to compete with the Cherokees for land. The Cherokee were glad when the Proclamation of 1763 was put into effect. This prevented settlement west of the Appalachian Mountains. Most of the settlers became enemies. The settlers attacked the Cherokees, destroying many towns and killing many people. This attack caused the Cherokees to end their participation in the American Revolution. The American colonist continued to take over the Cherokee land.   Ã‚  Ã‚  Ã‚  Ã‚  In 1783, the American Revolution ended. Since most of the Cherokees helped the British in the Revolutionary War, the Americans needed to make peace with them. Then in1785, the treaty of Hopewell was signed (Perdue 8). This was a peace treaty between the Cherokee and the Americans. This treaty defined the Cherokees’ boundaries and it gave them the right to get rid of unwanted settlers. The states of Georgia and North Carolina ignored this treaty. The people of these states expanded into Cherokee land, and the Cherokees continued to resist.   Ã‚  Ã‚  Ã‚  Ã‚  The Americans needed to come up with another system. Henry Knox was gave the task to come up wit... ...(Perdue 20). It gave them two years to prepare for removal. Many of the Cherokees, led by John Ross, protested this treaty. However, in the winter of 1838-1839, all of the Cherokees headed west toward Oklahoma. This removal of the Cherokees is now known, as the Trail of Tears was a very gruesome event. During the trip from the southern United States to current day Oklahoma, many of the Cherokees died. Shortly after their arrival in Oklahoma, they began to rebuild. They began tilling fields, sending their children to school, and attending Council meetings (Perdue 170).   Ã‚  Ã‚  Ã‚  Ã‚  The Cherokees were very civilized in dealing with the trails of removal. These people endured more than any other group of people throughout history. They played within the rules in their struggle. They did not want to start a war with the Americans. The Cherokees resisted removal and took it to court. Despite all of their tries to keep their land, they were removed. Work Cited Green, Michael D., and Theda Perdue, eds. The Cherokee Removal: A brief   Ã‚  Ã‚  Ã‚  Ã‚  History with Documents. New York: Bedford Books of St. Martin’s   Ã‚  Ã‚  Ã‚  Ã‚  Press, 1995.

Sylvia Plath: The Imperfect Perfectionist

Sylvia Plath's poetry is an expression of â€Å"a personal and despairing grief†. She had the gift of recreating her own past experiences in a complex form, so as to remove them from her present, that it started to seem like an obsession. Within this obsession her poems show a regular pattern of self-centeredness. It was this characteristic that lead her far from any â€Å"self-discovery† and â€Å"self-definition†, and drove her to her death, â€Å"an art† as she words it. Plath readily exploits her emotions through the personified language to build a sinister and super-natural atmosphere, in attempt of creating a â€Å"valiantly unremitting campaign against the black hole of depression and suicide†. However, her attempts went to waste when she committed suicide in the February of 1963. Plath's poetry enables the reader to unravel and look deep into her victimised mind. It was for this talent that she had received much praise, but much more criticism. Plath's poetry mirrors the life of Plath, and to make sense of her poetry it is important to try and have an understanding of Plath, to see things through her perspective. This is what most critics' lack, and so I have taken a step to try and understand her. It is for this reason I will take into consideration the perspective of psychoanalysts to aid me in my understanding of her, in particular the theories of Sigmund Freud, and the view of Marxists, to give me varied opinions. There are many themes common in her poems, each of which have equal importance, but I have chosen to analyse the themes of colour, family and relationships, and the self-inflicted pains she puts upon herself. Relationships were always a weak point in Plath's life. She has always felt disappointed by the relationships she had with others, especially that between her mother, father and husband. Her poems, which are partly stimulated by them, particularly â€Å"Daddy†, â€Å"Medusa† and â€Å"Tulips†, are a powerful source of â€Å"murderous art†, where she was allowed to expose her bitterness towards them. She uses reoccurring imagery associated with the three protagonists in her life, and poetry in attempt of breaking free from the chains of a â€Å"tortured mind of the heroine†. The relationship between Plath and her mother was very ineffectual, or that is how she exemplifies it through the use of her poetry. â€Å"Medusa†, which is said to be based on her mother is like a fantasy tale gone wrong. Plath creates a grotesque fictional jellyfish like character personified by the character of her mother. There is not even a little love being expressed in this poem, unlike ‘Daddy'. â€Å"Who do you think you are?†¦A communion wafer? Blubbery Mary? This is a hate poem, as the lines show no affection expressing hatred to such a level that the language used is so blunt and rude that it is hard to distinguish any relation between them. They also represent proof of the suppressed anger, which has brought Plath down in her life. The poem is made of many flashbulb memories, which are created at a time of high emotion. Memories of this kind are thought to be very accurate and so we cannot challenge Plath's recollection of these events to prove that they are false, however, throughout her poems, Plath shows a habit of inflicting pain upon herself in exaggeration of the cause and affect. She uses the same technique of reminiscing about the past, whilst exploiting the pain and suffering she underwent in â€Å"Daddy†. Another psychodynamic approach originates from explanations of attachment. Freud put forward an account, known as ‘cupboard love', based on the child's attachment with its mother. He states that the reason the child is attached with its mother is because they know that their mother will provide them with their needs without delay. These high expectations from a mother may also be the reason for Plath's anger towards her mother. Plath may have blamed her mother for the death of her father, and built hatred for her for the fact that she was unable to bring her, her dad back. Stan Smith, a Marxist has similar views. He believes â€Å"a writer is a creature of circumstance†, and Plath was a creature of emotional torment. Her father's death drove her to insanity, making her more and more obsessed with her father's death. Plath always recalled her dad through the imagery of the foot. She felt that the foot was to be blamed for the death of her father and used it as an excuse to build revulsion against him. â€Å"In which I have lived like a foot†Ã¢â‚¬ ¦Ã¢â‚¬ The boot in the face† Daddy is a good example of her disillusions about her father. These quotes taken from â€Å"Daddy† show her misrepresentations of her father as a brutal and obsessive man, however it is learnt from many sources that his character was often described as â€Å"authoritarian† and maintained a relationship with his children with very little involvement, and so her distraught behaviour can be excused when she conveys her immense abhorrence. The line â€Å"If I've killed one man, I've killed two† shows that she has destroyed the image of her father, and the ability to see good in anyone. Many Marxists believe this is â€Å"entirely unfair† and that she cannot blame the mistakes of one person to generalise everyone else. This is how she creates a negative image of everyone around her, including her family, by reflecting her sweeping statement upon the world. The way in which she conveys a very pessimistic illustration of her father repeatedly shows that she is fixated on the torture she thinks her father has inflicted upon her. This defence mechanism she uses in â€Å"Daddy† and â€Å"Medusa† is explained in the ‘personality theory', which states that any experiences through childhood, which are of excessive, pain or pleasure become fixated in the mind. Later on in life it leads to repression (when the mind tries to block out any of those threatening thoughts). I also agree with this psychological explanation, however, some of this diagnosis does not seem to be the case for Plath. Instead of eradicating these thoughts from her mind, she keeps reminding herself of them. Plath's imagery is so constant throughout her poems that it seems she is trying to remove these thoughts and incidents from her mind and life by writing them down, but is unable to, which explains the repetition in her poems. Unlike psychoanalysts, many Marxists have a very different view, that we cannot depend on Plath's interpretation of her parents, as Stan Smith words it, â€Å"a product of her own time and place†. I too agree with their opinion. In her poems, Sylvia deeply focuses on their faults but does not pay any attention to her own. A popular Marxist theory is that Plath and her problems with her parents is part of a much bigger problem. Compared with other issues her trouble is insignificant, and so for her to exaggerate these issues is unfair. ‘Daddy' is somewhat Plath's finale, to eliminate her dad from her mind and life. It seems to me that whilst recollecting memories of her father, Plath was unable to recall enough and was forced to elaborate from the small amount she has. Gradually the recollections became very heavily buried under the elaborations, and the poem becomes a stranger to her, or so that is how it seems to the reader. However, for Plath, the more disguised her poetry, the more personal her poems become. And this is why it is necessary to try and understand her, so you can dig beneath the top layer to reveal her inside. She very cleverly hides her affection for her father in the same way. It is crucial to see beneath the cruel and callous layer to see that under all of this so-called hate for her dad, Plath still has some love for him, yet all this suppressed anger and, torture, created by the imagery, can be justified. To be able to give an explanation for anger, whilst investigating her real feeling towards her father, it is necessary to examine the imagery she uses. â€Å"Any more, black shoe. In which I have lived like a foot† The foot and shoe metaphors have a lot of importance in Plath's work, as she is able to relate to them very easily to help her present her feelings. As this quote shows, the boot is â€Å"a symbol of her, suffocated and stuck†, and also of the fear of which she had to live with whilst her father was alive. His dominant status in the house oppressed Plath, and even whilst he was alive he wasn't able to give her the love that a young child needed. They also represent the initial discovery of the diabetes, that later killed him, because he was reluctant to have his leg amputated. By using these images Al Alvarez believes that â€Å"in ‘Daddy' she goes right down to the deep spring of her sickness and describes it purely†. I find this quite absurd that Alvarez has judged Plath's work as an account of her sickness, rather than an exclamation from a child who has been deprived of fatherly love and affection. It doesn't seem as if he has taken into consideration her emot ions, and has made no attempt to try and understand her perspective. ‘Daddy' is a cry of pain from a daughter who expresses incredulous psychological trauma because a father will not return unconditional love by surviving for her sake. Plath too, like any other individual should have the right to express this trauma, which is what most critics like Alvarez are forgetting and not allowing her to do. Many analysts also compare Plath's behaviour to the Electra complex. I disagree with this theory and don't think that Plath's feelings for her father should not be interpreted in a sexual form. Despite these in depth analyses, could it not be that Plath only uses the black shoe imagery as an extension of the Holocaust imagery, or even only as a link associated to her father? Liz Hood, a Marxist, believes that this over-depth study of the â€Å"black shoe† â€Å"may infact be an example of adding ones own interpretation to something which may in essence be a great deal more simple†. I think this opinion should be taken very seriously when trying to investigate Plath' relationships and life. The â€Å"black shoe† could simply represent the initial discovery of her father's diabetes, but is very misleading to many. It is these factors, which make the understanding of Plath nearly impossible. Despite the hate being shown, I agree with Alvarez, concluding that ‘Daddy' is a love poem. The brutality of the poem makes the idea of ‘Daddy' being a love poem very obvious, but yet not so obvious. Examples of the double innuendo are shown in many places throughout the poem, but are intertwined in all the vicious imagery. â€Å"I used to pray to recover you. Ach du†¦or Achoo†¦your gobbledygoo† Plath refers to her father as ‘du'. Although by using ‘du' Plath dissociates her relationship, instead by using Daddy, â€Å"there is still some kind of cooing tenderness in thus which complicates the other more savage note of resentment†, thinks Alvarez and myself. This is because Plath is torn between viewing her father in the eyes of a child and in the eyes of an adult, as you can see from the quotes above. Certain words are very childish, and make reference to Plath as a child. â€Å"She is still a daughter who never grew out of the stage that all daughters go through, thinking they're fathers are the closest thing to God†, that she is still daddy's little princess, and so by using these words and by referring to her father as ‘daddy' she is compensating for the loss of her childhood without her father. Opposing these thoughts is Hugh Kenner, another psychoanalyst, who believes â€Å"there's a lot of nonsense being talked about in these poems†. Nevertheless, he also thinks she deserves to be accredited for her creativity. Kenner has separated her creativity and emotions into two categories, where as I think this is impossible to do. Her poetry and the sensation of the poetry are portrayed through her creativity, which are her emotions. ‘Daddy' and ‘Medusa' both show the complementing balance between the two. The way in which she contrasts her self made anguish with what may be seen as much more sever suffering, so simply is proof of her ability to express her own pain through literature whilst weaving in her personal grievance. This ability helps Plath to dissolve herself into her work to such an extent that she progressively exposes her feelings with more and more depth, and gradually self-destructs in ‘Daddy'. The most common imagery that she used to do th is is associated with the Holocaust and religion. Psychoanalyst Alvarez suggests that by using the Holocaust imagery, â€Å"what she does in the poem is, with a weird detachment, to turn the violence against herself so as to show that she can equal her oppressors with her self-inflicted oppression†. This is definitely the case in ‘Daddy'. Throughout ‘Daddy', Plath compares the many conflicts in her life with images of World War 2. She creates suffering all around her, and â€Å"when suffering is there whatever you do, by inflicting upon yourself you achieve your identity, you set yourself free†. This is created by the use of the Holocaust imagery. Plath causes her own aggression by contrasting everything involved in her poem with this imagery. In her mind, there is enough comparison for her to be able to convince herself that she is â€Å"a Jew†, and by doing this has the ability to bombard every pain, in every sense, not only that of the Holocaust, upon herself, which takes her self-inflicted suffer ing to the highest level. The black shoe can also be interpreted as â€Å"an extension of the Holocaust and Nazi† imagery and by doing this Plath also gives an impression of her father as a Nazi. I think it is unfair of Plath to and compare her anger and suffering with that of the Holocaust, however, Plath's poetry is very â€Å"spiritual† and whilst criticising her work we need to take in mind that this is the â€Å"mind of the tortured heroine†. Sharing the same view is Leon Wieselter, a Marxist, who too thinks, â€Å"Whatever her father did to her, it could not have been what the Germans did to the Jews†; he goes on to say, â€Å"The metaphor is inappropriate†. I do not agree with this opinion of his. We as readers, and outsiders will be unable to experience Plath's emotions, and so do not have the right to criticise her emotions which are portrayed through her imagery. What we may see as bearable anguish, may be comparable to murder for Plath (in the case of being separated from her father), and we have established from previous analysis and just by reading her poetry that her fathers death seriously scarred Plath mentally. Furthermore I think that Plath feels some attachment to the Jews, because of her original nationality. Challenging this opinion is Stan Smith, another Marxist, who feels â€Å"it would be wrong to see Plath's use of the imagery in the concentration camp simply as unacceptable†. Another very blunt try at this technique is shown throughout ‘Lady Lazarus'. â€Å"In ‘Lady Lazarus' the†¦cultural resonance of the original story is harnessed to a vehemently self- justifying purpose, so that the supra-personal dimensions of knowledge-to which myth typically gives access-are slighted in favour of the intense personal need of the poet†, as Hugh Kenner describes this. This is a very accurate account of Plath in ‘Lady Lazarus'. Here she causes to experience this torture in a very direct way. We can see this from the first stanza. â€Å"I have done it again. One year in every ten I manage it-† These powerful lines show that Plath's self-made agonies are her drugs. She is self generating and to get energy to write she imposes pain upon herself. By doing this she also manages to gain everyone's attention of which she feels she was deprived from when she was younger, or maybe even all her life. Again in ‘Lady Lazarus' she involves some holocaust imagery and some reference to her father's foot. However there is not much imagery of this sort in ‘Lady Lazarus' but the language used is more frank, and revolved around her as a person. In a sense its is a summary of her life, a brief autobiography. By repeating the upsetting events in her life she reminds herself of them, and in a way by doing this she is causing herself to drown again in her own history. Another kind of imagery, which I think scares Plath is that of colour. It seems like Plath had a phobia of the colour red. Although this is a different imagery in its own respect, I think that Plath looks too deep into the various connotations of the colour red. Red associates itself with many assorted connotations, including love and passion, hatred and anger, jealousy, roses and blood. These are just a few of the many. When scanning through these words, you are able to connect them with the various events and emotions in Plath's life. This is why she tries to avoid red in her poems, in my opinion. However, there are exceptions. Plath feels she is able to use red as another sort of imagery to put across her feelings. This line taken from ‘Tulip' is an example of the exceptions she makes. â€Å"The tulips are too red†¦their redness talks to my wounds†¦upsetting me with their sudden tongues and their colour, a dozen red lead sinkers round my neck†¦the vivid tulips eat my oxygen.† These quotes show us to what extent the colour red causes her harm. In ‘Tulips' Plath personifies the tulips, by making them able to physically hurt her, as shown by the quotes. However, as soon as she brings to light the redness of the tulip, her audience become aware of the negativity of the tulips, and a very tense atmosphere is created. By characterising the tulips she feels like everyone is victimising her, and so again brings a feeling of fear and oppression upon her. She uses red to replace someone, of whom she is writing about. The tulips are harmless, but the redness attacks her mind. â€Å"The patient attempts to escape by every possible means. First he says nothing comes into his head, then that so much comes into his head that he can't grasp any of it†¦at last he admits that he really cannot say anything, he is so ashamed to†¦so it goes on, with untold variations. I think this quote said by Freud is perfect to conclude Plath. The paper is Plath's couch, and the pen her doctor. Poetry is mostly created for the sake of releasing pent up emotions, that one finds impossible to keep inside them, similar to crying out, rather than creating poems for the sake of art. However, the main question, which will trouble many minds for generations to come, is, was Sylvia's outcry disguised behind a false persona?

Death of a Hero, Written by R.Aldington

The text under analysis is taken from the novel â€Å"Death of a hero†, written by Richard Aldington. The first extract under analysis is very emotional by itself. In connection with the main theme of the novel the main idea of the first extract is the representation of the beauty of things menaced by war. The first is a beautiful canvas of spring as seen by two young and sensitive people in love. And the second one is regretful author's interposition about British nature and vulnerability of people of art during the war. From the very beginning of the text we see this beauty, and when George and Elizabeth just entered the Bushey Park .They were literally shocked by the beauty of the English garden and nature. This unexpectedness is conveyed to the reader through the metaphor â€Å"sudden ecstasy of delight†. We realize how sensitive and poetic they are, and how subtly they feel this delight. And the whole text, with its highly-emotional vocabulary, rhythm and colorful descriptions sounds more like a poem. And we can find the prove in the next couple of sentences. The description of the garden is very imaginary, as if we can see it through our own eyes. This effect is created with a help of certain syntactical structure.Many sentences beginning with adverbials of place: â€Å"Between the wall†¦ and another long high wall†¦ â€Å", â€Å"Underfoot†¦ â€Å", â€Å"There†¦ â€Å", â€Å"Among them†¦ â€Å", directing our gaze and inviting the reader to enjoy all the loveliness of the sight. The choice of words is also very rich and poetic in this part of the extract. Such as â€Å"†grandiose scale†, â€Å"innumerable bulbs†, â€Å"great secular trees†, â€Å"vast fans† help to show the splendor of the nature, to emphasize the color the author uses mostly coupled epithets such as â€Å"glittering green-and-gold foliage†, â€Å"the stouter green of wild plants†, â€Å"ten der blue sky†, â€Å"white and blue blossoms† and many others.All these create a visible scenery of the garden. For the greater part the epithets or attributes denoting color, are combined with metaphors describing the shapes of the flowers: â€Å"pale hearts† of the lilacs, â€Å"foam of white and blue blossoms†. A whole cluster of metaphors is devoted to the wild daffodil: â€Å"the soft, slim yellow trumpet†, â€Å"a pointed ruff of white petals†, â€Å"gold head†. Also, to create even more visional scenery the author uses simile very often in this part of the extract.And he compares the grass to an evening sky and the flowers to stars, the red tulips to bubbles of dark wine, and the large parti-coloured gold and red tulips are said to be â€Å"noble and sombre like the royal banner of Spain† . The colors are very warm and soft, ad its completely different from the colors that would be used in the next part. The choice of wor ds is remarkable for their sonorous quality (foliage, unfold, verdure, alert, sombre, banner etc. ). The passage is particularly rich in adjectives with alliterating (slender, stiff stem; glittering green-and-gold foliage; lost in the lush herbs).The alliterations are mainly based on the l- and r-sounds. These features make the passage particularly musical. To create the same musical effect the author uses the inversion. These stylistic devices create the atmosphere of harmony, beauty and splendor. With the words â€Å"English spring flowers† the second part of the text starts. And we can hear admiration and regret in this words. The change from the mood of tender delight to that of sadness and tension is immediate. Emotional words pervading the paragraph change their key; they are woe, bitterness, despair, bleak, mournful, appalling, foul, regretful.The author just opposed the the peaceful beauty of nature and the bitterness and despair in the world of men. This sharp contra st creates the atmosphere of despair and in this sentence â€Å"What an answer to our ridiculous â€Å"cosmic woe†, how salutary, what a soft reproach to bitterness and avarice and despair, what balm to hurt minds! † we realize it even more clear how unnecessary it is to have war. And the allusion from Virgil's  Aeneide shows to us that people should stop or they would have the same destiny as Troyans.Another contrast, brought about, is between the â€Å"bleak sky† and the â€Å"bleak race† of England and her beautiful flowers and poets. The final pathetic rhetorical question is whether the prospective conqueror would â€Å"think regretfully and tenderly of the flowers and the poets†. Also, the presentiment of England's final ruin is worded as one more classical quotation. The phrase: â€Å"fuit Ilium† is from Virgil's  Aeneidethe whole line being: â€Å"Fuimus Troes, fuit Ilium† which is the Latin for â€Å"We were Troyans: Troy was†, implying that it is now no more.The sharp contrasts, as well as the emphasis laid on the effect the transitory moment produces upon the heroes' senses, the refined metaphorical imagery comparing things in nature to man-made objects of luxury, — all these combine to bring Aldington's word-painting close to the Impressionist school. The lyrical intensity of Aldington's descriptions largely depends on the combination of the direct imagistic method, i. e. presenting things in a series of images almost physically palpable and real – with the author's own comments, bitter or sad.

Story of Henri Charrière, Author of Papillon

Story of Henri Charrià ¨re, Author of Papillon Henri Charrià ¨re (1906 –  1973) was a French petty criminal who was incarcerated  for murder in a penal colony in French Guiana. He famously escaped the brutal prison by building a raft, and in 1970 he published the book Papillon, detailing his experiences as a prisoner. Although Charrià ¨re claimed the book was autobiographical, it is believed that many of the experiences he described were in fact those of other inmates, and so Papillon is considered a work of fiction. Key Takeaways: Henri Charrià ¨re Henri Charrià ¨re was a small-time French criminal who was convicted of murder, possibly unjustly, and sentenced to ten year of hard labor in a penal colony.Following his successful escape, Charrià ¨re settled in Venezuela and wrote the famous semi-biographical novel Papillon, detailing (and embellishing) his time in prison.After the books publication, controversy arose around whether Charrià ¨re had attributed events involving other inmates to himself. Arrest and Incarceration Charrià ¨re, who was orphaned at the age of ten, enlisted in the French Navy as a teenager and served two years. Upon returning home to Paris, he immersed himself in the French criminal underworld and soon made a career for himself as a petty thief and safecracker. By some accounts, he may have made money as a pimp as well. In 1932, a low-level gangster from Montmartre named Roland Legrand–some reports list his surname as Lepetit–was killed, and Charrià ¨re was arrested for his murder. Although Charrià ¨re maintained his innocence, he was nevertheless convicted of killing Legrand. He was sentenced to ten years of hard labor in the St. Laurent du Maroni penal colony on French Guiana, and was transported there from Caen in 1933.   The conditions at the penal colony were brutal, and Charrià ¨re struck up a tenuous friendship with two of his fellow inmates, Joanes Clousiot and Andre Maturette. In November 1933, the three men escaped from St. Laurent in a small, open boat. After sailing nearly two thousand miles over the next  five weeks, they were shipwrecked near a Colombian village. They were recaptured, but Charrià ¨re managed to slip away once more, evading his guards in a storm.   In his semi-biographical novel published later, Charrià ¨re claimed that he made his way to the Guajira Peninsula in Northern Colombia, and then spent several months living with a local indigenous tribe in the jungle. Eventually, Charrià ¨re decided it was time to leave, but once he came out of the jungle he was recaptured almost immediately, and was sentenced to two years in solitary confinement. Escape and Literary Success Over the course of the next 11 years in which Charrià ¨re was imprisoned, he made numerous escape attempts; it is believed that he tried as many as eight times to escape prison. He later said that he was sent to Devil’s Island, a prison camp known both for being completely inescapable and for having a prisoner death rate of an astonishing 25%.   In 1944, Charrià ¨re made his final attempt, escaping on a raft, and landing on the coast of Guyana. Imprisoned there for a year, he was ultimately released and granted citizenship, and eventually he made his way to Venezuela. Burton Lindheim of The New York Times wrote in 1973, â€Å"[Charrià ¨re] tried to escape seven times and succeeded on his eighth attempt- a paddle over a shark†filled sea on a raft of dried coconuts. He found refuge in Venezuela, worked as a gold digger, oil prospector and pearl merchant and did other odd jobs before settling down in Caracas, marrying, opening a restaurant and becoming a prosperous Venezuelan citizen.† In 1969, he published Papillon, which became hugely successful. The books title comes from the tattoo that Charrià ¨re had on his chest; papillon is the French word for butterfly. In 1970, the French government pardoned Charrià ¨re for Legrands murder, and Renà © Pleven, the French Minister of Justice, removed restrictions on Charrià ¨res return to Paris to promote the book. Charrià ¨re died of throat cancer in 1973, the same year that a film adaptation of his story was released. The film starred Steve McQueen as the title character and Dustin Hoffman as a forger named Louis Dega. A 2018 version features Rami Malek as Dega and stars Charlie Hunnam as Charrià ¨re. Later Controversy Georges Mà ©nager’s  Les Quatre Và ©rità ©s de Papillon  (â€Å"The Four Truths of Papillon†) and Gà ©rard de Villiers’  Papillon à ©pinglà ©Ã‚  (â€Å"Butterfly Pinned†) both went into depth about inconsistencies in Charrià ¨re’s tale. For instance, Charrià ¨re claimed he rescued a guard’s daughter from a shark attack, but the child was in fact saved by another inmate who lost both of his legs and died as a result of the incident. He also claimed that he was imprisoned on Devil’s Island, but French penal colony records do not indicate that Charrià ¨re was ever sent to this particular prison. In 2005, Charles Brunier, who was 104 years old, said that it was his story that Charrià ¨re told in Papillon. Brunier, who was imprisoned at the same penal colony as Charrià ¨re during the same time period, told a French newspaper that he inspired Charrià ¨re to write the book. Brunier even had a tattoo of a butterfly.

Chemistry Mnemonic Devices for Elements

Chemistry Mnemonic Devices for Elements A mnemonic (pronounced ne MON ik) is one useful way to remember a list. This chemistry mnemonic is a phrase, consisting of words made using the symbols of the first nine elements in the periodic table. Happy Henry Likes Beer But Could Not Obtain Food for: H - hydrogen He - helium Li - lithium Be - beryllium B - boron C - carbon N - nitrogen O - oxygen F - fluorine More Chemistry Mnemonics for Periodic Table Element Symbols Of course, there are many more mnemonic devices you can use to help remember the element symbols. Here are a few more. Keep in mind, youll remember the element symbols best if you pick (or write) a mnemonic that you find funny or memorable. Some chemistry mnemonics cover the elements through neon, while several continue on to calcium. Happy Harry Listens B B C Network Over France Nevertheless Nothing More Arose So Peter Stopped Cleaning Airgun K Ca.Happy Henry Likes Beer But Could Not Obtain Four Nuts.Naughty Magpies Always Sing Perfect Songs Clawing Ants.Harry Helped Little Benny Balmer Carry Neat Oranges From Neptunes Natural Menagerie Always Singing Polite Sonnets Clearly Arf Key Casually.Harry Helps Little Betty Brown Crack Nuts On Friday Nights.Ha. Healthy Little Beggar Boys Catching Newts Or Fish.Hell, Here Little Beatniks Brandish Countless Number Of Flick kNives.Nagging Maggie Always Sighs, Please Stop Clowning Around.Here He Lies Beneath Bed Clothes, Nothing On, Feeling Nervous.Naughty Margaret Always Sighs, Please Stop Clowning Around.Hi He Lied Because Boron Could Not Oxidize Fluorine. New Nations Might Also Sign Peace Security Clause. Arthur King Can. (elements up to calcium)Hi! Hey Little Ben Became Charlie’s Number One Fighting Nemesis.Native Magpies Always Sit Peacefully Searching Clear Areas .Hi! He Lies Because Boron CanNot Oxidize Fluorine. Necromantic Nato Mg (abbreviation for make good) All Silicon Ports. Superman Clean Argons K-Capture. Hi Hello Little Beryll Brown Cracking Nuts On Friday.Nellies Naughty Magpie Always Sings Pop Songs ClearlyAfter Killing Cathy.

Public International Law (Extradition) Essay Example | Topics and Well Written Essays - 3000 words

Public International Law (Extradition) - Essay Example Public international law derives its rights from international agreements and may take any form that the contracting parties agree upon. Agreements may be made in respect to any matter except to the extent that the agreement conflicts with the rules of international law incorporating basic standards of international conduct or the obligations of a member state under the 'Charter of the United Nations(" We the Peoples of the United Nations... United for a Better World", UN Charter 1945) In this context, a brief discussion on the Vienna Convention on the law of treaties, 1969 seems to be relevant. The VCLT (Vienna Convention on law of Treaties )was drafted by the International Law Commission (ILC) of the United Nations, which began work on the Convention in 1949 and finished in 1969 with a diplomatic conference held by the UN in Vienna, Austria. The Convention was adopted on May 22, 1969.The Convention entered into force on January 27, 1980. 108 states have ratified the VCLT (May, 2007). The 1969 Vienna Convention defines a treaty as "an international agreement concluded between States in written form and governed by international law, whether embodied in a single instrument or in two or more related instruments and whatever its particular designation". To recognize the ever-increasing importance of treaties as a source of international law and as a means of developing peaceful cooperation among nations, whatever their constitutional and social systems, To Note the principles of free consent and of good faith and the pacta sunt servanda rule are universally recognized, To affirm that disputes concerning treaties, like other international disputes, should be settled by peaceful means and in conformity with the principles of justice and international law, To recall the determination of the peoples of the United Nations to establish conditions under which justice and respect for the obligations arising from treaties can be maintained, To have in mind the principles of international law embodied in the Charter of the United Nations, such as the principles of the equal rights and self-determination of peoples, of the sovereign equality and To recognize and respect independence of all States, of non-interference in the domestic affairs of States, of the prohibition of the threat or use of force and of universal respect for, and observance of, human rights and fundamental freedoms for all, Believing that the codification and progressive development of the law of treaties achieved in the present Convention will promote the purposes of the United Nations set forth in the Charter, namely, the maintenance of international peace and security, the development of friendly relations and the achievement of cooperation among nations, To affirm the rules of customary international law will continue to govern questions not regulated by the provisions of the present Convention, Extradition Treaties: Extradition is the official process by which one nation or state requests and obtains from another nation or state the surrender of a suspected or convicted criminal. Between nation states, extradition is regulated by treaties. Between sub-national

(Dual Relationship) discuss the statment that in examing dual Essay

(Dual Relationship) discuss the statment that in examing dual relationships the most important issue is exploitation not duality - Essay Example Dual relationship in psychotherapy can be focused on the fact that the therapist has other existing or subsequent relationship to the patient. This relationship can either be in terms of the social aspect, financial aspect or even profession aspect. When the term dual is attributed it does not limit the issue on the concurrent relationships. Based on the opinions of the professionals the, it is important to prevent dual relationships due to the effects that can be brought about in the treatment of the patients. Basically, the relationship between therapists and patients should remain purely professional due to the probability that the medical treatments and interventions can be affected by the dual relationships that occur between the therapists and the patients. The optimum level of health care that can be given cannot be achieved if the main concern of the therapist can be affected by other issues due to the other relationship with the patient. In this case, the professionalism and the ethical issues are often considered and needed as guidelines. There are other issues that are needed to be co... But is important to consider that the cases wherein blood ties are considered as the connection between the therapist and the patient, it is still considered as a situation that is below the optimum expected. Another issue is related to the ethical considerations that can be attached to such relationships (Pope and Vetter, 1992). A. Types of Dual Relationships The main types of dual relationships are considered to be able to determine the proper actions that can be undertaken. These types are considered as the major ones which include the double roles, the double professions, the double financial relationships and the unavoidable dual relationships. The double roles can be defined as the type wherein the client or the therapist is connected in other ways. An example is the therapist may be a former student of the client. The said relationship can still be considered to have certain effects on the performance of the procedure. The relationship can be considered as relevant since it is one of the most common categories (Borys and Pope, 1989). Double professions on the other hand deals with the people that are into different professions and lines of work simultaneously. This is one of the reasons that these professionals meet people that may get their professional service. For example the therapist can at the same time be into the academe, thus students can also be clients (Borys and Pope, 1989). There are also cases of dual relationships that can be considered as inevitable and at some point a necessity. This can occur in cases such as the military wherein the officers may at the same time be therapists and medical professionals, thus are licensed to