...Does a Fetus Have Human Rights? Brain death of a pregnant mother is a very unlikely scenario. Between 1982 and 2010, there were only 19 reported cases of maternal brain death.(Farragher) However, controversy arises when faced with this rarity. Even though some may believe that preserving the mother’s body is unethical, the decisions regarding the fetus should be made by the mother or next of kin, unless the fetus is past twenty-four weeks of gestation, because of ethical dilemmas, the presence of mother’s rights, fetal rights and viability. One ethical dilemma presented is the controversial issue of preserving the fetus with no regard to the mother’s body; treating her body like a medical experiment. In the case of long-term life support, the body will begin to deteriorate and look more corpse-like over time since machines are providing the primary functions of the body. This process can be very upsetting and disturbing for the family to witness. With this being said, there have actually been several cases in which a healthy, viable child was delivered after prolonged life support.(Farragher) In these cases, the mother or family stated that they wanted to continue life support. This sheds light on the fact that a fetus has rights and due to fetal viability, should be able to live. Therefore, this process may only be disturbing if the family believes the mother would not want to be on life support. Most mothers want to protect their children no matter what happens. So who...
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...* Nell’s mother was found dead one day by the man who was bringing her groceries. That same man found Nell after she made a noise in the back room. He went back to town and told the policeman about her. The doctor (Lovell) followed the policeman and then met Nell. * Genie was found after her mother escaped her house and found the police and brought them back to the house. They found her sitting on a potty chair. * Why were they isolated? * Nell’s mother isolated her and her sister because she was raped when she was younger, and didn’t want her girls to grow up in the same terrible, hateful world that she grew up in. She wanted her girls to be safe. * Genie was isolated because her father thought she was mentally disabled. He didn’t want people to know about her, so he locked her up. * Nell’s mother was found dead one day by the man who was bringing her groceries. That same man found Nell after she made a noise in the back room. He went back to town and told the policeman about her. The doctor (Lovell) followed the policeman and then met Nell. * Genie was found after her mother escaped her house and found the police and brought them back to the house. They found her sitting on a potty chair. * Why were they isolated? * Nell’s mother isolated her and her sister because she was raped when she was younger, and didn’t want her girls to grow up in the same terrible, hateful world that she grew up in. She wanted her girls to be safe. ...
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...Vikhyat Mundlapudi Mr. Brandstetter ENG-3UH Monday, September 26th, 2011 yThe Ripple in the Pond Janice Galloway's “this much is constant” is a testament to adults who have let out all their bottled up issues in the form of crime. Through her choice of descriptive words, she hints at the fact that the protagonist may have revisited her childhood home, only to murder her mother. The protagonist's feelings start to be revealed on the first page when she talks about how fear and wonder are constants, meaning that even though all the fearful and wonderful things that happened to her have long passed, they were still fresh in her mind, staying with her for eternity. The reader discovers that she has the longing to accomplish something as she says, “Determination is never outgrown; only with fear and wonder, adapted, reviewed, refined.” (p169) This can be interpreted as the protagonist had wanted to do something in her childhood, and that desire had never outgrown her, it had just been more refined to a point in her adulthood where she could conceivably execute her plan. She says, “Fear is never outgrown...,” (p169) meaning that even though she now has the plan to go along with her determination, she is still as fearful as the child she used to be. Her fear seems to stem specifically from this home, as she talks about how home is where bones grate against each other, signifying conflict, and as many child psychologists will say, a home with much conflict is the devil's workshop...
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...Land of the Dead (A discussion of Odysseus’ reactions in the Land of the Dead) Have you ever felt the chilling wind on the back of your arms on a cold Halloween night? That is the feeling I always imagine when I think of Odysseus descending into the Underworld. In the Odyssey, by Homer, Odysseus runs into three people he knew before they passed away. These three people were Elpenor, Anticlea, and Tiresias. In the Odyssey, Odysseus’ reactions to these three are sorrowful, grieving, frightfulness, and anger. When Odysseus caught sight of Elpenor in the Land of the Dead, he was sorrowful. His crewmate had just recently lost his life in Circe’s hall. Elpenor’s body had still been laying on the ground, unburied. Elpenor pleaded to Odysseus to bury his body and put a monument up for him. He asked, “When you make sail and put the lodgings of dim Death behind, you will moor ship, I know, upon Aeaea Island; there, O my lord, remember me, I pray, do not abandon me unwept, unburied, to tempt the gods’ wrath, while you sail for home.”(pg 1067)...
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...dragon look like its mother, as you can see. the baby dragon has no traits from the father whatsoever, other than two legs, but the baby dragon is identical to the mother....
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...On May 2, 1808, residents of Madrid rebelled against the French military, who occupied the city. In response to this conflict Goya printed Los Desastres de la Guerra (‘The Disasters of War’), a sequence of 82 prints depicting the effects of war and starvation. One of the 82 prints that I am going to focus on is caption Unhappy Mother. The etching depicts the death of a mother who is being carried by three men. There is a little girl no younger than three with her hands wiping her tears away. If you look closely you can see one of the three men looking at the little girl as they carry the woman away. There is a person behind the men. The person seems to be dead because there seems to be a gunshot wound on her back. The eighty etchings present...
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...Literal Meaning of Brook’s “The Mother” You will never forget that you killed your baby. You remember the child that you did not give life too. You remember the clump of fetuses that may or may not have had hair, the fetuses that would not grow up to be singers or workers. You will never mistreat these children since you have already taken their lives. You will never keep these children calm, be able to bribe them with gifts, or break them from sucking a thumb since they are dead. You will never get to adore these children since they are gone. The author is guilty, and can hear the cries of her unborn children in her consciousness. She feels pain after the children have been aborted. If her children would have been alive she would have calmed them by breastfeeding. She tells her children if she has sinned by taking their luck, their lives, births, names, tears, and games to forgive her. For she had an abortion, but she did...
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...crying because its not going to bring him back to life. She wants Juliet to put herself together. | Lady Capulet’s a very cold and perhaps a bit over protective mother. | Some grief shows much of love, but much grief shows still some want of wit. | She’s trying to make a point by saying if you cry a little it shows that you love and care for the person but when you cry a lot it’s silly. | Lady Capulet is being very cold once again, she repeats that crying isn’t going to help. | So shall you feel the loss but not the friend which you weep for. | Juliet and her mother has a very distant relationship. Juliet cannot trust her as she has to lie about her sadness. | A bit further on in the conversation, Juliet’s mother notices that she’s crying more about Romeo being still alive after killing her cousin Tybalt, not over Tybalt’s death. | Well, girl, thou weepst not so much for his death as that villain lives which slaughtered him. | | Juliet and Lady Capulet agrees that Juliet is never going to be happy without seeing Romeo. Juliet’s trying to confirm to her mother she wants Romeo dead and revenged. | Indeed I never shall be satisfied with Romeo, till I behold him-dead- Is my poor heart so far a kinsman vexed. | Juliet plays on her words to sound as if she wants Romeo dead, but in reality her heart is the one that’s ‘dead’. | Juliet and Lady Capulet aren’t very close. Juliet calls her ‘madam’ and ‘ladyship. The way Juliet speaks...
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...written by Jamaica Kincaid and “The Story of an Hour” written by Kate Chopin are both about women. The tone of both stories are cold and there is a minimal amount of other characters in them but most of the comparisons end there. “Girl” was written by Elaine Potter Richardson who was raised in poverty by her mother and stepfather in Antigua. She was sent to the United States to take care of herself at 17 and worked as an au pair and receptionist. She took the name of Jamaica Kincaid from a character in a George Bernard Shaw Play which was an act in part out of resentment toward her mother who did not agree with her career choice. She states that her stories written are part in truth and we can see some proof of that in the story. The story “Girl” is about a girl whose Mother is giving her daughter advice. The point of view is from that of the daughter. The tone is very pessimistic and semicolons are used but no periods. Her Mother is very specific and condescending in her tone. She repeatedly refers to her daughter as a slut. An example of this is her telling her daughter not to “walk like a slut” on Sunday even though she is “bent on becoming” one. Her Mother tells her how to hem a skirt so he doesn’t “look like the slut”. And a third time, when telling her how to behave around men she doesn’t really know. The daughter only interrupts twice during the whole spiel. When her daughter asks her a question at the end of the story about the baker and the bread her Mom mocks...
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...more symbolic manner, the daffodil represents the life that Trethewey and her mother has had to endure. Although the daffodil is only mentioned in one poem, many poems throughout Native Guard illustrate how the life of the daffodil is directly related and compared to Natasha Trethewey and her mother. The order in which the poems are mentioned is also significant; they demonstrate the progression stages of the two lives mentioned and the devastation that is brought when a life is lost. At the beginning of the book in the poem “Genus Narcissus” the daffodil is being compared to Trethewey as a child, because they are both in the beginning stages of life. Comparable to the flower Trethewey would be considered a new bloom sprouting in the early spring. “The road I walked home from school was dense with trees and shadows, creek-side, and lit by yellow daffodils, early blossom” (1-3).They are both innocent beings beginning life and Natasha is awaiting the chance to endure the happiness that life has to bring. Both Natasha and the flowers are considered gifts to her mother, therefore she sees herself as being one with the flower, “Childish vanity. I must have seen in them some measure of myself- the slender stems, each blossom a head lifted up” (13-15). Being a young child Natasha did not know that the flowers given to her mother as a small gift would one day represent the bruises and sudden death her mother would quickly endure. The transition has now begun, the daffodils are starting...
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...UNRESOLVED GRIEF AND CONTINUING BONDS: AN ATTACHMENT PERSPECTIVE Much of the contemporary bereavement literature on the continuing bond to the deceased (CB) has emphasized its adaptiveness and given limited attention to when it may be maladaptive. The attachment literature on disorganized– unresolved attachment classification in relation to loss, or ‘‘unresolved loss,’’ is informative in identifying CB expressions that are indicative of failure to integrate the death of a loved one. In this article, an important linkage is identified between a prominent indicator of unresolved loss that involves a lapse in the monitoring of reasoning implying disbelief that the person is dead and the clinical writings of J. Bowlby (1980) and V. D. Volkan (1981) on maladaptive variants of CB expression. The aim is to highlight the value of the attachment literature on unresolved loss in clarifying the conditions under which CB is likely to be maladaptive. There is increasing agreement among bereavement theorists and practitioners that an ongoing attachment to the deceased can be an integral part of successful adaptation to bereavement (Klass, Silverman, & Nickman, 1996). This position, commonly known as the ‘‘continuing bonds’’ perspective, is counter to that presented by Freud (1917=1957) in his classic work ‘‘Mourning and Melancholia,’’ in which he proposed that successful adaptation to loss required the bereaved to detach his or her psychic investment in the deceased...
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...UNRESOLVED GRIEF AND CONTINUING BONDS: AN ATTACHMENT PERSPECTIVE Much of the contemporary bereavement literature on the continuing bond to the deceased (CB) has emphasized its adaptiveness and given limited attention to when it may be maladaptive. The attachment literature on disorganized– unresolved attachment classification in relation to loss, or ‘‘unresolved loss,’’ is informative in identifying CB expressions that are indicative of failure to integrate the death of a loved one. In this article, an important linkage is identified between a prominent indicator of unresolved loss that involves a lapse in the monitoring of reasoning implying disbelief that the person is dead and the clinical writings of J. Bowlby (1980) and V. D. Volkan (1981) on maladaptive variants of CB expression. The aim is to highlight the value of the attachment literature on unresolved loss in clarifying the conditions under which CB is likely to be maladaptive. There is increasing agreement among bereavement theorists and practitioners that an ongoing attachment to the deceased can be an integral part of successful adaptation to bereavement (Klass, Silverman, & Nickman, 1996). This position, commonly known as the ‘‘continuing bonds’’ perspective, is counter to that presented by Freud (1917=1957) in his classic work ‘‘Mourning and Melancholia,’’ in which he proposed that successful adaptation to loss required the bereaved to detach his or her psychic investment in the deceased...
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...Psycho by Alfred Hitchcock was released in 1960. An important relationship in this text is the unusual relationship between Norman and ‘Mother’. This relationship is unusual because although they are two separate entities and Mother is actually dead, there is a constant struggle for control of Norman’s mind and in the end, ‘Mother’ wins. This relationship helped me understand the main idea of madness through the parlour scene, the fruit cellar scene and the police station scene. The relationship between Norman and ‘Mother’ helped me identify and understand the idea of madness through symbolism, lighting and dialogue techniques in the parlour scene. This symbolism includes the stuffed owls, which seem ready to attack that are placed in the background in a low-angle mid shot of Norman. At another point in the scene, Norman leans forward into a close up. This shot helps support the idea that even though Mother is physically dead, she is alive and threatening to take over Norman’s mind. This can be seen through the lighting of Norman’s face, half-light, half dark, and the dialogue. “It's not like my mother is a maniac... We all go a little mad sometimes. Haven't you?” These techniques have been cleverly assembled by Hitchcock to subtly hint at the idea of madness and help us to get to know Norman, but is not yet prepared to reveal the extent of Norman’s madness due to Psycho being a horror film. The complex relationship helps us understand Norman as a character and the idea...
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...misses nothing. When her mother dies, Emmaline, Emmy for short, is thrust into the mystical, spiritual world of her mother’s native peoples, the Cherokee. Upon her mother’s death, she sees her mother still there in the cabin shared with her family and refuses to believe that she is dead. Her refusal to accept her mothers crossing launches her on a mission to find and talk with her mother by using the powers bestowed on her by her great-grandfather, Two Feathers, the Keeper of the Sacred...
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...relates to the Greek god, Hades, of the underworld and king of the dead. From ancient Greek to modern times Hades is viewed as the god of evil. He is viewed as evil in society because he drew the small end of the stick. Receiving the power to the ruler of the underworld and king of the dead. In modern-day Hades can be compared to the devil, the queen ant, and a kidnapper. The ones who study Greek mythology must remember, Hades is neither evil nor dark like how society portrays him, but “he is altruistic and passive, bringing balance to the world” (“Top… Hades.”). Humans who are quick to judge without knowing the story behind someone's purpose is where the trait of evil develops. Hades is the third brother among the twelve great Olympians. Zeus, Poseidon, and Hades defeated their father and the Titans to help their cousins reclaim their rulership over the cosmos. The three brothers agreed to split their rule and Hades drew his power of the ruling the underworld and becoming the king over the dead. Most people think Hades is the ruler of death, but he is not the ruler of the death just the dead. “He presided over funeral rites and defended the rights...
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