What have your experiences with writing been like Do you enjoy writing Essay

What have your experiences with writing been like Do you enjoy writing Why or why not Write a few paragraphs about your thoughts - Essay Example this stage became crucial in the sense that writing journal entries has developed my interest to explore with insights as drawn from personal experiences. Gradually I have gotten accustomed to noting down stories or encounters I suppose are worth my precious whiles and record, taking plenty of concrete and accurate details into account. In the process, I have felt a significant degree of improvement as I proceed writing with spontaneous fluidity of thoughts. Since I typically make it a point to use a thesaurus and acquire constant engagement in reading literature, I keep discovering ways to write in a more creative manner. With an increased level of creativity and enriched vocabulary, I observe being capable of effective self-expression when conveying sentiments and ideas through writing. Such joy and fascination leads me to establish writing as a hobby or a form of diversion by which to escape into a world of wonders and possibilities yet unknown. To an extent, it has even brought me to find delight in composing essays and poems I savor reading as well. If my own wealth had the capacity to afford a sauna house or facility for therapeutic spa then I would certainly buy one. Given a blank check, I would think of putting up a flower garden of my own design and choice of exotic flowers on the ground that besides love of nature, I believe that such remarkable setting fosters a stimulating atmosphere for the mind to indulge in tranquility and happy thoughts. It is essential for an individual to be able to generate a positive outlook in life especially in dealing with an unstable state of economy and technology-driven social affairs and one would only attain to this objective by deriving an inspiration from the beauty that is seen and felt inside and out. Finding a way out of complications is necessary indeed particularly whenever this situation in its complicatedness affects not only a person but even those around him who may be highly impacted by the negative vibes

Homicide Investigation Techniques Essay Example for Free

Homicide Investigation Techniques Essay Abstract Murder investigations are started when there is a suspicious death, there is precise steps that should be followed during a murder investigation. So that the case can be brought to court and prosecuted evidence is collected, suspects and witnesses are interviewed. The law enforcement personnel that participate in a murder investigation are individually trained to handle and process evidence; this includes protection of the crime scene and testifies in court. Definitions of homicides and manslaughter The two offenses that is classified, as homicide is murder and manslaughter; manslaughter is perpetrated in one of three ways; killing another individual with intent, but where compliance such as loss of control, decreased responsibility, or committing suicide by way of a concordat. Committing a crime where an individual is killed by gross negligence, gross given the risk of death and behavior in the form of an illegal act involving a danger that resulted in the death of another human. Murder or homicide is the illegal killing with malice and forethought of another human; this is usually considered a premeditated state of mind and separate murder from manslaughter, because the individual planned the murder with intention, (Osterburg, J. W. Ward, R. H. 2010). Crime Scene Assessment With the arrival of the first law enforcement officer at a crime scene, there are strict procedurals guidelines. The first officer to arrive at a crime scene tries to detain anyone that could be a witness/suspect. It is the responsibility of this officer to secure the crime scene to keep the crime scene from becoming contaminated and the loss of evidence. With the arrival of the investigator that will take charge of the crime scene, the officer will detail all information acquired from possible witness or suspects. The investigator will document the crime scene with pictures, sketches, notes and even video of the evidence and surrounding area. After the walk through, the investigator begins formulating a theory of the crime focusing on the progressions of events to include locations and positions of those present during the crime. All evidence is collected and sect to the lab for analysis, (Osterburg, J. W. Ward, R. H 2010). What is Victimology? Victimology is the study of issues interjecting to the intensification in victim perceptibility, characteristics and elements, persecution and its influences, and victim’s reactions to persecution. Through this scientist studies physical, expressive and monetary harm people suffer because of unlawful activities. Victims are individuals that experience loss, injury or hardship because of a criminal act. Victimology uses subjective approach to identify, define and describe the problems associated with being a victim (Karmen 2012). Conclusion Even with the most publicized crimes in the history of the Unites States Criminal Justice System, police can arrest, but they investigate first. The investigators must find out the cause of and time of death. Investigators define a successful homicide investigation as the one where a perpetrator is pinpointed, indicted and convicted of the crime.

Von Hippel-Lindau Syndrome :: essays research papers

Von Hippel-Lindau syndrome is one of over 7000 known inherited diseases. It is an autosomal dominant disease that affects about 10% of the population.1 The history of VHL reaches back to 1864 when scattered reports of knots of blood vessels known as hemangioblastomas on the retina surfaced and were written up by opthamolagists. Eugene Von Hippel, a German opthamologist is credited with discovering the familial nature of the disease, however Swedish pathologist Arvid Lindau was the one who suggested that these hemangioblastomas are part of a larger "angiomatus [involving knots of blood vessels] lesion of the central nervous system." Additional reports of affected small families confermed Lindau's theory. In 1964, Melmon and Rosen summarized all knowlege of the disease and coined the name "Von Hippel-Lindau." The invention of ultrasound aided detection in the late 1970's, and by the mid 1980's, MRI was commonly used for detection of angiomas on the spine. In 1 993, the VHL gene was located by researchers at the National Cancer Institute. Patients with VHL suffer tumors known as angiomas (they are referred to as hemangioblastomas when discussing the retina, brain, or spinal chord and pheochromocytomas when discussing the adrenal glands) consisting of tiny knots of blood vessels. These angiomas can occur in the brain, spinal cord, retina, adrenal glands, kidney, pancreas, and very rarely in the epididymis is men and the fallopian tubes in women. Based on these manifestations, scientists have identified two types of VHL: 1) without pheochromocytoma 2) with pheochromocytoma. VHL type 2 has further been divided into two subcatagories: 2a) without pancreatic cysts 2b) with pancreatic cysts. VHL type 1 is the most common form of the disease. Scientists have also identified trends in race associated with manifestations of VHL: French families are most likely to have pancreatic cysts, German families are most likely to have pheochromocytomas, and Japanese families are more likely to have kidney tumors2. When hemangioblastomas form in the retina, they start out very small and difficult to detect. They tend to grow around the equator of the retina (See Fig 1), far from the area of central vision. A very indepth opthamological examination is required to detect hemangioblastomastomas of the retina. Once discovered, there are two main options for treatment: laser surgery or cryotherapy (freezing). The goal of these treatments is to keep the hemangioblastomas from growing. Hemangioblastomas in the brain and spinal cord can be a bit more dangerous. Early signs of a growth in these areas may include back pain, headaches, numbness, dizziness, and weakness or pain in the arms or legs.

Lago in Act 1 Scenes

Thus, by carrying out the role as a villain, he highlights the animalistic traits evident within people of the Venetian society. Although Iago is a white man who holds a fairly high status within Venetian society, he is crude and uncouth, often swearing and making references to the devil.By using he imagery of being â€Å"plague[ed] with flies†, he makes reference to the devil, which is extremely inappropriate for a man held win such high regard. Furthermore, through this example, he associates himself with darkness and evil despite being a white man-who are supposedly considered pure and heathen. Also, by using the symbolism of â€Å"an old black ram†, he again associates himself with darkness and the devil. The â€Å"old black ram† symbolises the devil, which has the connotations of being evil, dark, and terrible.Hence, making the distinction between light and darkness nclear and confusing, bringing to light the idea that darkness might be evident in light, and vice versa. Because Othello has defied his position in society as a black man by proving himself through his talents and his honourable actions, he is still discriminated by Iago, who voices out his disdain for him openly. He uses the symbolism of a â€Å"Barbary horse† to represent Othello.This is extremely demeaning to Othello, a man of royal lineage who has carried himself off with only the utmost integrity and honour. This shows hat although he has many merits and is regal in his actions and demeanour, he is still associated with the stereotype that all blacks are barbarians. Furthermore, the sibilance within â€Å"the gross clasps ofa lascivious Moor† highlights the sinister and libidinous traits that Blacks are stereotypically known to possess.This forms a disgusting impression of Othello, by simply Judging him according to his skin colour. Thus, through lagds characterisation of Othello through his ethnicity, he forms a racist impression of Othello and thus, is able to highlight the significance of one's thnicity and how difficult, if not impossible, this boundary is to surpass. By agitating Brabantio, Iago makes a fool of the high ranking senator, and this brings forth the idea that people in position of power might not be worthy of it.The run-on lines evident between â€Å"Sir, sir, sir-† and â€Å"But thou must need to be sure† shows how little Brabantio thinks of using his â€Å"spirit† and his â€Å"place† to punish Iago and Roderigo. This emphasizes the fact that people of power can carelessly make use of it to their own benefit. In Brabantio's case, he threatens to punish them as they have disturbed his rest.The triviality of their offence is mismatched with the threat that Brabantio has faced them with, showing that he has taken advantage of his power and thus, might not be worthy of it. Also, the run-on lines evident between â€Å"For thus does not think before acting. This is not appropriate for some one holding such a high position as he is expected to give thought before carrying out his actions, or the resultant effect of his carelessness might have great impact on society.Hence, Iago shows the inadequacy of Brabantio and through this, questions the significance of people's merits when being placed in power. Thus, through his mischief, Iago incites people to display their raw, animalistic traits, and displays his own as well. This results in the surfacing of problems within Venetian society that eventually accumulates to result in various tragedies. Hence, Iago is significant in masterminding the eventual tragedy, and the beginnings of this are evident in act 1 scene 1 and 2.

Literature Final

â€Å"Annabel Lee† stands as one of the most famous â€Å"death† poems of the nineteenth century, although it’s stature is certainly matched by Walt Whitman’s â€Å"When Lilacs Last in the Dooryard Bloom’d,† a poem which uses a number of   similar poetic devices, but rests upon an entirely different form. Like Poe’s most famous poem â€Å"The Raven,† his â€Å"other† famous poem â€Å"Annabel Lee† is steeped in musical diction and meter, with a view toward creating a lyric tension between the sweetness and musicality of the poem’s meter and form and the more profound and perhaps less idealized potency of the poems themes: which is human mortality. By combining technical precision with a theme of magnitude, Poe pursued his policy and prescription for poetic composition as outlined in his essays â€Å"The Poetic Principle† and the â€Å"Rational of Verse† â€Å"The Philosophy of Composition:† â€Å"the notions of his negligible ‘Philosophy of Composition' and ‘The Poetic Principle'. Its resources seem devices. Every effect seems due to an expedient. The repetend and the refrain are reliances with him — not instrumental, but thematic. At least they constitute rather than create the effect — which has therefore something otiose and perfunctory about it† (Foerster 239). The opening lines: â€Å"It was many and many a year ago/ In a Kingdom by the Sea† signal the intention not only to create a musical pattern with words as by the deliberate redundancy of â€Å"many and many† but also to posit and idealized world against that of grim reality. The repetition of many reveals that the ideal time of a â€Å"Kingdom by the Sea† has passed and this generates an immediate thematic tension. Similarly, Whitman’s poem begins with an evocation of time past: â€Å"When lilacs last in the dooryard bloom’d,/And the great start early dropp’d in the western sky in the night.† In both  poems, the hearkening back toward an idealized time first glimpsed at the poem’s beginning will recur throughout the body of the poem in both imagery and diction: in Poe’s poem, as an obvious refrain, in Whitman’s as a series of extended modulations of the original theme; with the free-verse poem flowing through many permutations of the original â€Å"lilac-nostalgia† imagery. It is worth noting that the formality of Poe’s stanza forms with carefully placed rhyme and  enjambment contrasts not only technically, but thematically, with Whitman’s sprawling free-verse form. The former carefully predicts the poem’s ending in the meter, the inevitable sway toward a definite conclusion, like fate. The latter’s form, loosed from metrical and rhyme constraints seems to â€Å"grow† rather than follow its inevitable almost mathematically destined end. The technical consequences are obvious: Poe’s poem will impress itself upon memory much more easily than Whitman’s and thus be received more organically; whereas Whitman’s (according to Poe’s doctrines) is apt to fascinate by virtue of individual images and lines. The thematic consequence is a different matter. Poe’s succinct and mathematical form serves to enhance the poem’s grave themes of personal loss and morning, sparking within the poem an indelible timelessness, an eternal melancholy, which is precisely the theme of the poem. One can imagine the poems meter and rhyme scheme quite easily projected into a musical melody without words which would result in much the same manner of â€Å"bright† misery. On the other hand, the free-verse   form of Whitman’s poem, were it projected as a musical number, might be more aptly described as an improvisational melody with a â€Å"pop† arrangement. The impact of the form on the theme of mortality, is to set in motion, the imagination’s perception that death contains within it motion, growing, an evolution of life and rebirth. â€Å"I mourn’d, and yet shall mourn with ever-returning spring.† This line with its conspicuous use of the word  Ã¢â‚¬Å"ever-returning† rather than â€Å"every†indicates the poem’s death-rebirth cyclical theme. Poe’s poem, by contrast, closes in a monochromatic, monotonic— one might say paralytic submission to death. Though there is a hint of release in the poem’s narrator rejoining his departed lover’s corpse, there is no indication of rebirth or of growth beyond this mutual oblivion. â€Å"In the sepulchre there by the sea,/In her tomb by the sounding sea.† This close is simultaneously an urge toward and away from death: but that ambiguity is trumped by the over-reaching reality of the â€Å"sea† which, in terms of the poem, indicates oblivion. At the close of Whitman’s poem, nature is viewed as sympathetic and in harony wiht the mourning of the observer; a cleansing and cathartic experience is implied. â€Å"For the sweetest, wisest soul of all my days and lands— and/this for his dear sake,/Lilac and star and bird twined with the chant of my soul,/There in the fragrant pines and cedars dusk and dim.† Rather than oblivion, nature offers brotherhood and renewal, as implied by the continuous symbol of the lilacs. Poe’s poem acknowledges and imparts the sense of life and death being in continuous friction â€Å"The angels not so happy in Heaven,?Went envying her and me† while Whitman vies death in life in continuous balance and integration â€Å"Come lovely and soothing death,/Undulate around the world. Serenely arriving, arriving,/In the day, in the night, to all, to each,/sooner or later delicate death.† Nothing could illustrate the contrast between the two poems and poets more than Whitman’s phrase â€Å"delicate death.† In â€Å"Annabel Lee, the delicate ones are the people, the humans who must succumb to death; for Whitman humanity is stronger than death and death is viewed as a part of the universal extension of human experience: it is delicate, not oppressive. This essential difference in the poems is reflected in their form and expression.   The more  controlled and fatalistic intonations of Poe and the â€Å"organic† reflective and lyrically introspective tribute by Whitman. In each case, the poet confronts the death of a beloved and reaches through their deep identification with the departed to a summation of the nature of death: for Poe is it everlasting oblivion, an for Whitman it is cyclical renewal. For both poets, the subject of human mortality provided fertile ground to create lasting poems that resonate across time. SECTION 2 Using a story each by Edgar Allen Poe and Washington Irving, describe how the Romantic writer used the supernatural to engage the reader’s imagination and then explain why Romantics were drawn to the supernatural Though many Gothic writers have earned a deserved reputation for a preoccupation with the supernatural, it is often the case that this same fascination, slanted toward the rational or â€Å"debunking† of commonly held superstitions and idea about supernatural forces, has been overlooked. Two good examples of this tendency are Washington Irving and Edgar Allen Poe, both of whom are well-revered as writers of â€Å"ghost stories† or â€Å"scary stories† which deal with the fantastic. However, both Poe and Irving posit a rational, anti-superstitious motif in their well-known stories: as a cases in point we may review â€Å"The Legend of Sleepy Hollow† by Irving and â€Å"The Sphinx† by Edgar Allen Poe. â€Å"The Legend of Sleepy Hollow,† rather than celebrating supernatural forces or positing them as actual forces at work in the real world, uses the idea or fallacious belief in supernatural forces to drive the story’s plot and them: â€Å"Irving's denial of the fantastic begins with The Sketch Book, and, although his strategy changes, the goal remains the same in all four works. John Clendenning has noted the debunking of the Gothic tradition in the three famous inserted stories of The Sketch Book: â€Å"Rip Van Winkle†, â€Å"The Spectre Bridegroom†, and â€Å"The Legend of SleepyHollow† (Brodwin 53). The Legend of Sleepy Hollow is based in â€Å"the uncanny,† a genre which allows the reader to decide â€Å"that the laws of reality remain intact and permit an explanation of the phenomena described. In this case, we know that it is really Brom Bones, not the Galloping Hessian, who has pursued Ichabod Crane†(Brodwin 54). This is seemingly an anti-romantic idea: de-emphasizing imaginary or delusional aspects for those drawn out of pure rationality. Similarly, Poe in â€Å"The Sphinx†posits opposite minded characters, confronted with an uncanny experience, one which disavows the supernatural, the other, the narrator who claims :†A favorite topic with me was the popular belief in omens— a belief which, at this epoch in my life, I was almost seriously disposed to defend.† This is opposite the attitude of Ichabod Crane who expresses a disbelief in supernatural forces, but harbors a secret fear of them. â€Å"Because there is already a legend about the Hessian, Ichabod's disappearance can be explained by recourse to the supernatural, although the schoolmaster's rivalry with Brom Bones over Katrina van Tassel is the obvious cause. Once again the possibility of the fantastic is raised for the sole purpose of being denied;† in this way, Irving emphasizes the role of rationality in a disordered world. â€Å"Such a strategy indicates that Irving was not just parodying the excesses of contemporary Gothic and romantic fiction, which can be commended† he was also attempting to magnify the scope of fiction as both philosophically and morally instructive (Brodwin 54) Poe’s â€Å"The Sphinx† also posits the possibility of a grand â€Å"supernatural†event, only forthe purposes of debunking it through rational faculties. â€Å"Poe was also a born humorist equally inspired by parody and self-mockery. In an anti-romantic vein so common among the popular humorists of his time, he enjoyed applying his acumen to deride the outpourings of emotions too often surging from mediocre fiction and poetry† (Royot 57). If â€Å"The Sphinx† can be profitably viewed as Poe’s gesture toward self-humor and also as a gesture toward the supremacy of rational thought over superstition it is no surprise. Other tales deal in this fashion with the same themes most notably the â€Å"Dupin† stories: Murders in the Rue Morgue, The Purloined Letter, and The Mystery of Marie Roget. But Poe also dealt with â€Å"ratiocination† in other celebrated stories such as â€Å"The Gold Bug† and â€Å"Maelzel’s Chessplayer. For Poe, it was possible for supernatural forces to exist, as well as for misapprehension of known forces for those of supernatural origin. However, as a plot device in fiction, Poe was notably against the sue of supernatural forces without organic cause:â€Å"Objecting to incredible or improbable elements in the narrative, Poe claims that unraveling a plot by awkwardly appealing to the supernatural constitutes an affront to artistic standards. This censure of Bird's idiosyncratic characters and extraordinary plot devices may seem like an early call for realism in fiction, but the review calls for more than minute attention to credible detail† (Ljungquist 9) In fact ‘The Sphinx† hardly reconciles its dichotomy of the known and unknown, the real and imagined: as a case in point we view his â€Å"explanation† for the apparition in the story, of the so-called Sphinx, which turns out to be nothing more than a beetle! However, the beetle in question posited as a scientific explanation for irrational experience is, in itself, a fancy of Poe’s! â€Å"Indeed, this synthetic bug is probably, through the story, the best known of all beetles, even if, like the â€Å"sea coast of Bohemia,† it never existed. Poe at times had almost an impish delight in the inaccuracy of unessentials. (Quinn 131) The appeal of the supernatural to Gothic and Romantic writers was both genuine and also as a sub-genre within to create cautionary tales regarding the integrity of human rationality in the face of what appear to be illogical, or supernatural occurrences. References Brodwin, S. (Ed.). (1986). The Old and New World Romanticism of Washington Irving. New York: Greenwood Press. Foerster, N. (Ed.). (1930). American Critical Essays, XIXth and XXth Centuries. London: H. Milford, Oxford University Press. Ljungquist, K. P. (2002). 1 The Poet as Critic. In The Cambridge Companion to Edgar Allan Poe, Hayes, K. J. (Ed.) (pp. 7-19). Cambridge, England: Cambridge University Press. Quinn, A. H. (1941). Edgar Allan Poe A Critical Biography. New York: Appleton-Century-Crofts. Royot, D. (2002). 4 Poe's Humor. In The Cambridge Companion to Edgar Allan Poe, Hayes, K. J. (Ed.) (pp. 57-70). Cambridge, England: Cambridge University Press.