Tragic Heroes in Arthur Millers Death of a Salesman and Henrik Ibsens

Tragic Heroes in Arthur Miller's Death of a Salesman and Henrik Ibsen's A Doll's House Dramatists such as Aristotle started to write a series of plays called tragedies. They were as follows: the play revolved around a great man such as a king or war hero, who possessed a tragic flaw. This flaw or discrepancy would eventually become his downfall. These types of plays are still written today, for example, Arthur Millers "Death of Salesman" and Henrik Ibsens "A Dolls House." "Death of Salesman" shows the downfall of the modern tragic hero, Willy Loman, a middle class working man. Nora, in "A Doll's House" displays that characteristics of a tragic hero, in that she shows potential for greatness, but is stifled by her society. Willy Loman in "Death of a Salesman" and Nora in "A Dolls House" are two perfect examples that illustrate a tragic hero. In "Tragedy and the Common Man", Arthur Miller discusses different criteria and definitions for tragedy as they apply to the common man. Miller's ideal tragic hero is one who "is intent upon claiming his whole due as a personality," and when approached with a struggle, "demonstrating the indestructible will of man to achieve his humanity." A tragic hero is willing to takes on the role of what makes the audience accept him as a hero when by his own virtue is worthy of their attention and perhaps respect. Miller's common man, Willy, fought the battle of life, by trying to make the best of what he was given, and by living life the only way he knows how, being a traveling salesman. Being prideful, and at times stubborn man, he loses some opportunities to better his life along the way, partly because of his pride, and partly because of the American lifestyle, Willy is still attempting to support his family, even at age sixty. Though we think of Willy as a classic tragic hero, his life is more pathetic and saddening than inspiring. His name implies he is a "low man", an ordinary man, whose dreams and expectations have been shattered by the false values of society he has put his faith in. His problems stem from his own delusions which result of his failure to succeed in life. Willy's obsession and lack of insight thwart all his relationships and cause him to betray his own set of values. His loyal wife supports him in both his fantasies and failures and her life seems to be entirely absorbed into his. Unable to achie... ...n his world" (Para 14, Miller). Finally in the end, she begins to realize that her whole life has been a lie. Nora's rebellion was deliberate and well planned. She knew what was expected of her and she still did what she thought was right in her own mind. These qualities lie at the heart of Nora's heroic character. For Nora's heroically brave personality shows her confidence in herself and her absolute refusal to live a life where she is not in control of her actions. She flouted society's laws, worked hard, and is now about to reap the success of the action by handing over the final payment.   Ã‚  Ã‚  Ã‚  Ã‚  In conclusion, Willy Loman and Nora are two ideal examples of tragic heros. Both Ibsen and Miller have showed how the common man such as Nora in 'A Dolls House' and Willy Loman in 'Death of Salesman' have emerged as a tragic heroes. Works Cited: Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981 Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999. 1636-1707 Tragic Heroes in Arthur Miller's Death of a Salesman and Henrik Ibsen's Tragic Heroes in Arthur Miller's Death of a Salesman and Henrik Ibsen's A Doll's House Dramatists such as Aristotle started to write a series of plays called tragedies. They were as follows: the play revolved around a great man such as a king or war hero, who possessed a tragic flaw. This flaw or discrepancy would eventually become his downfall. These types of plays are still written today, for example, Arthur Millers "Death of Salesman" and Henrik Ibsens "A Dolls House." "Death of Salesman" shows the downfall of the modern tragic hero, Willy Loman, a middle class working man. Nora, in "A Doll's House" displays that characteristics of a tragic hero, in that she shows potential for greatness, but is stifled by her society. Willy Loman in "Death of a Salesman" and Nora in "A Dolls House" are two perfect examples that illustrate a tragic hero. In "Tragedy and the Common Man", Arthur Miller discusses different criteria and definitions for tragedy as they apply to the common man. Miller's ideal tragic hero is one who "is intent upon claiming his whole due as a personality," and when approached with a struggle, "demonstrating the indestructible will of man to achieve his humanity." A tragic hero is willing to takes on the role of what makes the audience accept him as a hero when by his own virtue is worthy of their attention and perhaps respect. Miller's common man, Willy, fought the battle of life, by trying to make the best of what he was given, and by living life the only way he knows how, being a traveling salesman. Being prideful, and at times stubborn man, he loses some opportunities to better his life along the way, partly because of his pride, and partly because of the American lifestyle, Willy is still attempting to support his family, even at age sixty. Though we think of Willy as a classic tragic hero, his life is more pathetic and saddening than inspiring. His name implies he is a "low man", an ordinary man, whose dreams and expectations have been shattered by the false values of society he has put his faith in. His problems stem from his own delusions which result of his failure to succeed in life. Willy's obsession and lack of insight thwart all his relationships and cause him to betray his own set of values. His loyal wife supports him in both his fantasies and failures and her life seems to be entirely absorbed into his. Unable to achie... ...n his world" (Para 14, Miller). Finally in the end, she begins to realize that her whole life has been a lie. Nora's rebellion was deliberate and well planned. She knew what was expected of her and she still did what she thought was right in her own mind. These qualities lie at the heart of Nora's heroic character. For Nora's heroically brave personality shows her confidence in herself and her absolute refusal to live a life where she is not in control of her actions. She flouted society's laws, worked hard, and is now about to reap the success of the action by handing over the final payment.   Ã‚  Ã‚  Ã‚  Ã‚  In conclusion, Willy Loman and Nora are two ideal examples of tragic heros. Both Ibsen and Miller have showed how the common man such as Nora in 'A Dolls House' and Willy Loman in 'Death of Salesman' have emerged as a tragic heroes. Works Cited: Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981 Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999. 1636-1707

Grace OMalley :: Biography

Her Father was a main influence in her life. She is an infamous Irish rebel. She cut her hair short like a boy as a child because she thought it would show her parents that could survive the tough life at sea. Who was this wild Irish woman? Grace O’Malley, Queen of the Irish seas. Wild and dangerous, Grace O’Malley sailed the rocky Irish coast. Born in the year 1530, legend says, when her parents looked into her eyes they said they saw the light of the sea in her eye (McCully, 2). Grace’s Father was a pirate and Chieftain of the O’Malley Clan. Owen, her father, was away for many long trips. Grace thought being a pirate was fun. She asked her parents if she could tag along with Owen. Her parents found this quite funny. Frustrated, she ran off and came back with boy hair. Eventually, Grace proved to her parents that she could withstand the journey (Stanely, PAR 1). After Grace’s first voyage her parents had to face it, she was a pirate at heart. On her first trip her parents were glade she came. Reason being, she saved her father’s life. When the O’Malley Clan was heading back they were attacked. Her father made Grace hid if they were attacked. Grace, a young fearless child, didn’t do that. Instead, she watched from above. Grace, watching the attack from above, saw someone sneak behind her father. She leaped down and attacked him, saving her father (â€Å"Pirate King†, PAR3). O’Malley was a well educated person even though she was a pirate. She could read, write and speak a few different languages including Latin. This skill helped her get places and actually helped her gain respect (McCulley PAR 2). Grace was off and married at the age of 15. Not for love but for alliance. She married Donal O’Flahrety, leader of another powerful clan like the O’Malleys. Together they fought the English and other clans for one year. At the end of the year Grace released Donal. They both couldn’t bear to let each other go. Donal and Grace stayed together not for alliance, but for love this time (â€Å"Sea Queens† 31). Later he died, when is unknown. After the death of Donal she married Richard Bourke. Richard, like Donal was the leader of a powerful clan. Together they were extremely powerful. Grace mainly married Richard for more power over the West Coast of Ireland.

Misguided Messages in The Awakening and A Dolls House :: comparison compare contrast essays

Misguided Messages in The Awakening and A Doll's House      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Just because a novel is considered a classic doesn't mean the Messages it conveys to its readers are correct.   Even though both The Awakening by Kate Chopin and A Doll's House by Henrik Ibsen are great literary works, some of the ideas embodied in them aren't appropriate. Both works suggest that it is common for husbands to be condescending to their wives; that if a person has enough money, they can have someone else raise their children for them; and that if a marriage gets hard, the couple should just give up on each other.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Taking the stories for their literary qualities alone, they are both quite good.   Both novels are very well written.   Chopin and Ibsen developed their characters well, used excellent imagery, and told interesting stories.   Both shared their strong convictions even though they knew their ideas weren't popular.   The strong beliefs that are shared in these stories are part of what makes them classics.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   However, some of the ideas that are portrayed in these works aren't ideas readers should assume to be true or good.   The first of these is the theory that husbands will most likely treat their wives as inferiors after they are married.   In A Doll's House, Torvald is blatantly condescending to Nora.   He calls her his  ³little squirrel ² or  ³little skylark ² and requires her to  ³do tricks ² to please him.   In addition, he treats her like a child, a  ³feather head ² who can't understand anything important.   In The Awakening, Leonce is more subtle in his mistreatment of his wife.   He tries to control Edna by pushing his point until she does what he wants.   He also tries to make her feel bad about herself.   For example, he tells her she isn't a good mother to their sons.   Although this type of behavior is condemned in both of these stories, just characterizing this behavior as normal sends a bad message.   If young men are repeatedly told that this is how adult males act, they will inevitably feel that they should act this way when they are married.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The second bad idea conveyed by these stories is that if a person can afford to, they should have someone else raise their children for them. In A Doll's House, Nora and Torvald have a nanny who takes care of their children for them.   This is the same nanny who Nora's parents had paid to raise her.   Also, in The Awakening, Leonce and Edna not only have a person who takes care of their children for them; but, when Edna moves to the

Anna Historic and Ravensong

Ana Historic is a poetic novel about a woman named Annie who discovers Mrs. Richards, a woman of no history, in Vancouver’s civic archives. Annie becomes obsessed with the possibilities of Mrs. Richards’ life. The novel is written by Daphne Marlatt, a Canadian poet. Ravensong is a fictional novel about a seventeen year-old native girl who tries to bridge the gap between the traditional ways of her Native village and white society’s invasive new values. Ravensong is written by Lee Maracle, a First Nations writer and poet. Both of these novels have brought forth important issues pertaining to Women’s and Gender Studies such as colonialism, sexuality, fear of violence, and lesbianism. This paper will focus on the topic of sexuality and colonialism. These two novels have further educated me on many things. For example, after reading Ana Historic, I discovered that there are various narrative forms and styles other than traditional European models. Daphne Marlatt uses writing styles such as ecriture feminine; in which feminist writers â€Å"try to use their own bodies as a source for writing† (Sand 10) and gynesis, which is an â€Å"aesthetic strategy which puts gender, sexuality and maternity into public discourse† (Sand 10). I also learned how femininity is constructed in a white middle class environment through what is considered appropriate conduct for a woman (Sand 10). After reading Ravensong, I discovered that in traditional aboriginal culture, men never entered the house of single women without a man being present (Maracle 103). This novel has also taught me about the important role of Raven, the trickster who is used to dissolve the boundaries between Native and white culture (Sand 20). The novels are very different in terms of narrative styles, point-of-views, time periods, and how lesbianism and the role of nature play out in the story. Daphne Marlatt uses a postmodern narrative style, while Lee Maracle uses a combination of aboriginal and European narrative approaches. Ravensong is written from the point-of-view of a young native woman, whereas Ana Historic is written from the outlook of a white, middle-class woman. Lesbianism plays out differently in each novel. In Ana Hisotric, Annie slowly comes to terms with her sexuality and eventually realizes that she is a lesbian. In Ravensong, Stacey’s friends Rena and German Judy are a lesbian couple. The role of nature in Ravensong is indivisible from human life and landscape (Sand 20), where as in Ana Historic it is a place of comfort and cause of fear (Sand 20). Ravensong takes place in the 1950s and Ana Historic takes place mostly in the 1950s and 1870s (Mrs. Richards). Colonialism and sexuality are topics which are closely correlated. They are both about dominance, regulation, discourse and race. Sexuality is defined as the historical organization and regulation of desire and sexual practices into social identities that are constructed as if they emerge from nature (Sand 18). Daphne Marlatt and Lee Maracle deal with this subject in very different ways. In Ravensong, sexuality is associated with shame and suicide. In Ana historic, sexuality is associated with mothering and lesbianism. Colonialism is the extension of a nation’s sovereignty over territory beyond its borders by the establishment of either settle colonies or creating administrative dependencies in which native or indigenous populations are directly ruled (Patel 8). Ravensong is written from the perspective of colonized people whereas Ana Historic is written from the standpoint of the colonizers. In the novel Ana Historic, Ina’s mothering impacts Annie’s perception of sexuality. Ina taught her daughters sexuality was something to be afraid of â€Å"you taught us your fear, you taught us what you knew about a world where even uncles were not to be trusted. you grew more afraid as our sexuality came budding to the fore†¦ † (Marlatt 34). Annie tries to write herself out of the patriarchal limitations of heterosexuality that have bounded her mother Ina to a life of domesticity. She does this by freeing herself from her role as supportive house wife and re-writing her relationship with Ina (Sand 10). Annie realizes that feminine behaviour is not actually something natural and inevitable but it is rather an unnatural social construction. Annie writes â€Å"†¦ you taught me the uneasy hole in myself and how to cover it up – cover girl, the great cover-story women inherit in fashion and makeup. You taught me how i was supposed to look, the feminine act† (Marlatt 61). Annie also recognizes â€Å"the inheritance of mothers† (Maralatt 60) that passes on sexual repression from generation to generation. For instance, Ina says to Annie, â€Å"what do you know about repression? you were hardly a virgin when you married, were you? I didn’t know the first thing about sex – your grandmother simply refused to discuss it, though i begged her† (Marlatt 60). Marlatt avoids heteronormativity which is a belief and a set of cultural/institutional practices that enforce heterosexuality as dominant, essential and natural (Sand 18), by creating a sexualized lesbian relationship between Annie and her friend Zoe. While creating a life for Mrs. Richards, Annie begins to realize that she is attracted to Zoe and she writes her into the story by creating a character named Birdie Stewart. Annie writes about the sexual desire she feels for Zoe in her imagined life of Mrs. Richards, â€Å"you turn intrigued, and your body turning in its long skirt, is caught in the act, you have caught yourself turning in Birdie’s eyes† (Marlatt 109). Annie’s inherent fear of sexuality surfaces in her imagined life for Mrs. Richard. Birdie recognizes Mrs. Richards fear of her own sexual identity, she says, â€Å"but you’re afraid my dear, afraid of your own twat† (Marlatt 135). She addresses her fear of lesbian sexuality when she says â€Å"You fear what you want. ’†¦ ‘am I right, my love? † (Marlatt 139). Mrs. Richards is suddenly rushed with desire, she admits the truth of it and feels it written across her face (Marlatt 139). Annie finally gives in to her sexual desire for Zoe and the novel ends with a climatic sexual poem. Annie’s lesbian sexuality surfaces as a result of the decolonization process Marlatt inscribes for Annie and Mrs. Richards (Sand 10). In her novel Narrative Deconstructions of Gender, Caroline Rosenthal defines sexual decolonization as a debate on whether â€Å"women are colonized by compulsory heterosexuality in ways only decolonizing strategies and the practice of critical consciousness can undo† (106). Marlatt deviates from the sexual oppression of middle-class white women by revisioning a lesbian life for Mrs. Richards. The problem of the intersection of women and the oppression of the indigenous briefly surfaces in Ana Historic. While Mrs. Richards is walking through the woods she comes across two Siwash men who are simply passing by. Where they drunk?†¦ Perhaps they were furious and meant to do her harm† (Marlatt 41). The assumptions that Mrs. Richards makes about these men are related to negative stereotypes such as the â€Å"drunken squaw† that colonizers created to justify taking over Native land (Anderson 229). In the beginning of the novel Ravensong, Stacey learns that one of her white classmates, Polly, committed suicide. Polly has killed herself in response to the shame she felt about being publicly identified as having been sexually active with another boy in Stacey’s class. Stacey becomes very angry with the reactions of some of her classmates to Polly’s â€Å"lack of chastity† (Maracle 28). â€Å"She couldn’t believe how small and mean they all were. So what if Polly had a little fun last night? Big deal! † (Maracle 28) Stacey does not understand the social disapproval of Polly because in her culture sexuality is seen with humour and is openly joked about. For example, Ella the village elder asks Stacey â€Å"What you going to save me for, have another baby? † The women respond with laughter saying â€Å"Sure, why not Ella. You probably still like trying. They were on a roll, ribbing Ella about her zeal for men† (Maracle 50). Raven pushes Stacey to come to grips with the loss of her classmate by guiding her to explore Polly’s culture and history. â€Å"Wander around Polly’s insides, feel your way through decades, generations of lostness† (Marlatt 39). In doing so Stacey discovers that white culture views sexuality very differently than her own culture. She realizes that Polly had a violent home life and that white town had no support for Polly’s mother. â€Å"In the end what struck her about Judy’s narrative was the lack of support in the white community for Polly’s mom. Where was the family in all this? † (Marlatt 81) Stacey is surprised by this because in her culture sexuality is natural, a part of everyday life. â€Å"People love, laugh and have babies† (Marlattt 71). In her thesis Rebelling against discourses of denial and destruction, Rachel Deutsch writes that â€Å"in European ideology, sexuality and sexual acts, especially involving women, were seen as deviant† (30). This ideology starts to influence Stacey to reject some aspects of her own culture such as the anger and disgust she feels towards her mother for wanting to remain sexual after the death of her husband. In Kim Anderson’s article, The construction of a Negative Identity, she states that colonizers created a negative sexual identity for Native women in order to justify â€Å"taking over Indian land† (229). The â€Å"dirty squaw† image made it easier to â€Å"cover up the reality of Native women who were merely struggling with the increasingly inhuman conditions on reserve† (Anderson 231). This negative sexual identity presents itself in the novel when Stacey talks about the racism she experiences at school. â€Å"A few of them hurled insults and racial epithets at her, whispered ‘cleutch’ as she passed them†¦ (Maracle 69). A cleutch refers to a Native female’s private parts. Colonialism first presents itself at the very beginning of the novel when Celia sees a tall ship approaching the village filled with men. In this moment, Celia feels the impending doom of colonialism on her people and culture. â€Å"Fear, cold and thin, wove itself into Celia’s self† (Maracle 10). Another instance of colonialism experienced by the village lies in the general indifference of white town towards the flu epidemic that takes many Native lives. Colonialism also surfaces in the relationship between Stacey and Steve, a white boy from her class. Colonialism led to the eradication and destruction of aboriginal cultures which assist in the explanation on why the doctors of white town were unwilling to treat the villagers. Stacey believes it is because their lives are deemed less valuable. â€Å"Under the shabby arguments about hospitals being full and doctors already overworked lay an unspoken assumption: white folks are more deserving†¦ † (Maracle 69). Stacey sees Steve and other white people as controlling oppressors. She resists white power (colonization) many times throughout the book. Stacey resists her teachers’ authority and she also resists Steve’s desire for her. â€Å"The slave had just given an order to the master, which made him an ex-master. Neither man knew what it was to be an ex-master, so both were confused and hurt† (Maracle 75). Her growing frustration for white town’s lack of compassion towards suffering villagers is obvious in her attitude towards Steve. Stacey can no longer stand the racism and she tells Steve exactly how she feels. She tells him that he will never know what her and her people have gone through and asks him â€Å"How did it feel to watch us die, Steve? † (Maracle 186). Steve leaves in shame and Stacey realizes that he was not for her. Ana Historic and Ravensong have taught me several things that I was unaware of before reading them. I have learned that there exists many different writing styles and narrative approaches such as ecriture feminine and gynesis used by Daphne Marlatt and the conventions of Native orature (Sand 20) used by Lee Maracle. I’ve learned how femininity is constructed in Ana Historic and about the important role that Raven plays in Ravensong. Marlatt and Maracle deal with colonialism and sexuality throughout the novel in a way which allows the reader to self-reflect on their own positions and understandings of these topics. Non-Native readers are removed from their usual hegemonic position by Stacey’s objectification of white town in Ravensong (Sand 20). Marlatt’s experimentation with language challenges the reader to both examine and interpret the world in a different way. What impacted me the most about Ana Historic is Daphne Marlatt’s theory and practice of fictionalysis which is a combination of fiction and analysis used as a means to explore self-identity. Marlatt starts with facts from her own life and from history and uses her imagination to create an intersecting territory where â€Å"fact and fiction co-exist† (Sand 10). I enjoyed how she used this style in Annie’s reconstruction of traditional history through the life she makes up for Mrs. Richards. The role that Raven plays in the novel is what impacted me most about Ravensong. Raven acknowledges the gulf between white town and the village and knows that it needs to be bridged in order to prevent further catastrophe. Raven brings the plague of the flu epidemic in attempt to expose white town to the diversity of the world and to teach them to work together. The inability of white town to grasp the lesson leads to the destruction of the indigenous community. Both novels bring important issues and concerns to women and gender studies and I really appreciate the different perspective that each novel has given me. Ana Historic and Ravensong have contributed important lessons, concepts and theories to this course.

Dialectical Journals Fahrenheit 451 Essay

1. Quote : â€Å"we must build a mirror factory to take a long look at themselves† Device: Symbolism  this remark recalls Montag’s description of Clarisse as a mirror in â€Å"The Hearth and the Salamander.† Mirrors here are symbols of self-understanding, of seeing oneself clearly. 2. Quote: The Hearth and the Salamander Device: Symbolism This Demostrates symbolism because The Hearth and the Salamander, suggests two things having to do with fire, the hearth is a source of warmth and goodness, showing the positive, non-destructive side of fire. Whereas a salamander is a small lizard-like creature is known to come in contact with fire without getting burnt by it. The salamander is symbolizing the Guy Montag, who is being described as a salamander because he works with fire and believes that he can escape the fire and survive. 3. Quote: 451 fahrenheit Device : Foreshadowing Bradubury uses the title fahrenheit 451 as an foreshadowing technique. 451 degrees Fahrenheit is the temperature at which paper ignites, which has to do with the act of bookburning. Bradbury uses that to hint the readers of paper (books) burning. 4. Quote: Device: Foreshawdowng Montag is down at the fire station and the firemen are playing with the new mechanical hound. That hound doesn’t seem to like Montag very much, suggesting that something bad might happen involving that hound. 5. Quote: â€Å"are youre the firemen† Device: Irony Montag is introduced to the reader as a fireman. As the reader we naturally think of firemen as people who put out fires. Bradbury has created the situational irony in this story by having Montag be a fireman who starts fires. He goes into people’s homes and burns their books. He is asked by Clarisse if firemen ever put fires out and he told her that was crazy and it was silly to think that way. Firemen were there to help control the population by burning books. 6. Quote: In our society kmowlegde is power.Everyone try to gain more knowlege and stand out not to conform. Device: Irony  In Montags society, the possesionof more knowlegr than someone else can lead to death. this conveys the theme and underlying message of knowlege vs ignorance.

Racism in “To kill a mockingbird” Essay

â€Å"If there’s just one kind of folks, why can’t they get along with each other? If they’re all alike, why do they go out of their way to despise each other?† (Lee, 259) Harper Lee uses her novel ‘To Kill a Mockingbird’ to accentuate the catastrophic nature of racism. Some troubling individuals or groups of people have felt powerful by exercising their dominance over another group claiming they are worthier, stronger, and smarter. The problem of racism has often been associated with the history of the United States of America. Slavery has been abandoned long ago, but for years black people were considered to be of lower class, their capabilities were denied, and their dignity was completely diminished. It took American people hundreds of years to achieve the level of true democracy, when they can grasp the notion of equality between people, including acceptance of differences in gender, nationality, religion, culture, and what most matters in the book we read – race. Discrimination can be shown through the Maycomb community, the Tom Robinson trial, and Boo Radley. As Scout’s cousin told her, â€Å"He’s nothing but a n*****-lover!† (Lee, 94). Segregation could be noticed not only in the Maycomb County, but in the whole Alabama state, and the rest of Southern USA. Black people could not ‘mingle’ with the whites and their children attended separate schools. Adults socialized at places where they wouldn’t be noticed or bother the whites (ex. the black church in Maycomb). They each had their own territories, and assumed it was immoral for them to fuse together. They would go out of their way, saying things such as â€Å"You ain’t got no business bringin’ with chillum here – they got their church, we got our’n† (Lee, 136). The whites and blacks knew very little of each other, and that fear of not knowing became worse by imagining how bad the other side must be. This was also one of the problems that prevented racism to disappear. ‘The Great Depression’ during the 1930s made people (whites) stay focused on their own poverty, made them angry, and stopped them from seeing poverty and hardships on the other side. All these factors made polarization stronger, and created grounds for racism  to grow. The problem of racism and segregation was presented through subtle descriptions of the suburban life of very young and innocent children. Their view of events and relationships in the book was a strong contrast to the negative characters of white racists who wanted to take justice in their hands and execute Tom Robinson. In a child’s perspective, displayed through narration by the author (Scout), portrayed an innocent assumption that all people are the same, and poverty and racism are deeply unfair and brutal things. Seeing events through the eyes of a child (ex. Scout) helps us understand that feeling of hatred and discrimination is not something we are born with, but is often taught by adults. In Maycomb, most people are influenced and taught by their parents and peers that there are certain people in society that do not fit in with other people. Jem and Scout deeply argued the cruel idea. â€Å"I think there’s just one kind of folks. Folks.† (Lee, 258). Black people are an obvious example, but it’s also people based on their wealth and lifestyle. Scout is restricted from playing with her fellow school-mate Walter Cunningham, her Aunt Alexandra replies; â€Å"Because – he – is – trash, that’s why you can’t play with him† (Lee 257). Her aunt is one of those people in Maycomb who is always injustice. Chapters that describe situation before and after the court trial against Tom Robinson are full of examples of how racism was demonstrated ‘routinely’. Atticus Finch faced huge pressure only because he agreed to defend a black man, which proved that someone could lose their reputation for getting too close with the blacks. Scout got into fights trying to defend her father’s pride, when the kids at her school called him a ‘n***** lover’. â€Å"He had announced in the school-yard the day before that Scout Finch’s daddy defended n*****s.†(Lee, 85). She strongly disagreed with the kids’ terrible judgement on black people, and loathed the sight of it. She would get out of her way to stop the unhuman behaviour, and to defend her innocent and brave father. Love relationships between whites and blacks was strictly forbidden, which was clearly shown in Mayella’s example, who had such a powerful guilt for becoming fond of Tom, that she did not hesitate to lie and attempt to destroy Tom’s dignity and whole life. Tom Robinson recalled while testifying; â€Å"She reached up an’ kissed me ‘side of th’ face. she says she never kissed a grown man before an’ she might as well kiss a n*****† (Lee, 219). Atticus’s speech during the trial was so powerful and would normally touch everyone’s heart and make people start thinking otherwise, but did little to change the outcome. The example of Tom Robinson’s case in the book proves how blacks had no chance to win any case. The whites had all rights to bring accusations against the blacks, and bring them to the court. Mayella’s defender even assumed that he had the right to disrespect Tom by calling him â€Å"boy† (Lee, 223). The trial itself would not do them any favour as the decisions were often made despite clear evidence. Who could expect a different outcome, especially when the jury was made of whites, who were often open racists. One more detail from the book that also spoke about discrimination is when, towards the end, in a mysterious way Jem was attacked, lost consciousness and was brought home by Boo Radley. The Sheriff felt obliged to come up with a cover-up story, so poor Boo would not become the centre of attention. He made up a story that Bob Ewell fell on his own knife and died, and there was no connection to poor Boo Radley. â€Å"I may not be much, Mr. Finch, but I’m still sheriff of Maycomb County and Bob Ewell fell on his knife.† (Lee, 317). The fact that problem was resolved this way also tells us about double standards used for the blacks and whites. If there had been a black man suspected of murder, there would have been no way for him to escape the trial. However, the dignity of a white man had to be protected at any cost. In a way, it is a fair deal, especially after what we have learned about strong prejudice towards mentally and physically challenged people like Boo Radley, which caused him enough misery and suffering. Two main characters in the book carried a hope for the generation that is to come, that things will change. â€Å"Why reasonable people go stark raving mad when anything involving a Negro comes up, is something I don’t pretend to understand† (Lee, 100). Both of them (Scout and Jem) were inspired by their  father Atticus, who believed that racism is a disease from which his kids should be saved. Education is one of the key factors that enlightens people, gives exposure to different views, and teaches the wide American population that they have so much in common. Wasting time segregating people of all kinds prevents countries and nations from making huge advancements. â€Å"Why don’t they like the Jews, you reckon, Miss Gates?† (Lee, 281). That is one of the messages Harper Lee wanted to pass on in an indirect way. Fortunately, societies changed for better; more and more people got educated, they learned about tolerance and equality. Atticus’ thoughts truly stand out in this novel. â€Å"You never really know a man until you stand in his shoes and walk around in them† (Lee, 321). The people of Maycomb had horrendous and evil assumptions about black people, and how they do not belong with society. Although they specially thought about them through an outside perspective, they rarely thought about them through an inside perspective. They never knew that they were just innocent people trying to have a good life in America. Through apprehensible context, the novel truly brings out the ugly nature of people, and their gruesome delight of disrespecting and discriminating people of disparity – especially black people. â€Å"I knowed who it was, all right, lived down yonder in that n*****-nest, passed the house every day. Jedge, I’ve asked this county for fifteen years to clean out that nest down yonder, they’re dangerous to live around ‘side devaluin’ my property-† (Lee, 199). Ignorance can cost people their lives, ruin their families, and bring separations to those who should be united. Harper Lee’s book described all these problems in such a powerful and touching way that many generations of readers will remember its messages.

Principles for Implementing Duty of Care

1. 1. Explain what it means to have duty of care in own work role A duty of care is a legal obligation imposed on an individual requiring that they adhere to a standard of reasonable care. It’s a requirement to exercise a reasonable degree of attention and caution to avoid negligence which could lead to harm to others. Duty of Care is the legal responsibility, to ensure the safety and well-being of others 1. 2. Explain how duty of care contributes to the safeguarding or protection of individuals. Policies and Procedures –are rules set out by your work place the procedures are there to be followed and to safeguard the individuals that we care for Conforming to Legislation-by following legislation such as Health and Social Care Act 2008 Risk Assessments-by following and review risk assessments reporting concerns and reporting potential hazards will minimize any risk Training-to ensure my training is up to date and that I am aware of any changes in legislation 2. 1. Describe Potential Conflicts or Dilemmas That May Arises between the Duty of Care an Individual’s Rights. As individuals we all have our own minds and most of us can do what we want when we want without asking permission, and as we get older our brains do not work as well as it used to . so if an individual was trying to leave the home on their own it would be my duty to try and stop them from leaving as they could put themselves in danger. The individual may not realise how dangerous it could be if she lost her way or even forgets where she lives, we would need to explain the risks if the individual did leave on their own and try and come to some sort of compromise to reduce the risk like the ndividual having an escort . 2. 2. Describe how to manage risks associated with conflicts or dilemmas between an individual`s rights and the duty of care. We would do a risk assessment on the individual and talk to them and hopefully come to compromise with them; we would also ensure all doors are alarmed to alert staff if any doors are opened . all the information will be put into the individuals care plan and all staff would be made aware 2. Explain where to get the additional support and advice about conflicts and dilemmas. Manager Senior carer District nurse Social services 3. 1. Describe how to respond to complaints If a service user or a member of family has a complaint to make I would listen to what they have to say and if I could deal with it myself I would do so if not I would report it to my manager and I would do this effectively and be professional. 3. 2 Explain the main points of agreed procedures for handing complaints. It is important that the home runs smoothly and that staff, clients and relatives work together to benefit the clients In event of complaints from either staff, clients or relatives every effort will be made to respond quickly and appropriately and procedures will be followed most complaints can be handled by care staff, but if we could not deal with it we would inform the senior carer on duty, and if they could not deal with it I would speak to my manager. Every client has the complaint procedure in there room which explains what to do.