A component of blood that is used when several units of bloo…
Questions
A cоmpоnent оf blood thаt is used when severаl units of blood hаve been used and should be thawed in water prior to use is called
Directiоns: Chооse the best аnswer. Eаch question is worth 1.8 points. Which type of primаry care seeks to balance the structure and function of the body through manipulation of muscles and joints?
ENG 662: British Mоdernism Pаrt I. Identificаtiоn. Chоose seven of the following quotes. For eаch one, write a paragraph that identifies the author, the title, and significance. (35 points) “To live, to err, to fall, to triumph, to recreate life out of life! A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on!”“The genial, tentative host disappeared, and they saw instead the man who had carved money out of Greece and Africa, and bought forests from the natives for a few bottles of gin.”“It was then that I saw her—the ghost. The woman with streaming hair. She was surrounded by a gilt frame but I knew her. I dropped the candle I was carrying and it caught the end of the tablecloth and I saw flames shoot up.”“Every inch a soldier.”“She held out a pair of Jacob’s old shoes.”“She and Maggie went to all kinds of places together, to big suffrage meetings in Nottingham, to concerts, to theatres, to exhibitions of pictures. Ursula saved her money and bought a bicycle, and the two girls rode to Lincoln, to Southwell, and into Derbyshire.”“He’s a plucky little devil, thought the boss, and he felt a real admiration for the fly’s courage. That was the way to tackle things; that was the right spirit.”“The mark was a small round mark, black upon the white wall, about six or seven inches above the mantlepiece.”She can hold her own against ten thousand. The step of that tramcar is her Thermopylae.”“Forgive my hat,”“It never will thump again” Part II. Essay. Choose one of the following questions. Write a complete essay response. The essay should be detailed, organized, well-supported, and thesis driven. (65 points) Todd Martin, a renowned Katherine Mansfield scholar, claims that Mansfield’s protagonists often display “a buried misery just below the surface of the illusion each protagonist tries to maintain” (16). In many cases, these buried miseries surface only to be psychologically displaced so that a painful reality becomes sublimated and redeveloped in another form—torturing a fly, doting on a fox stole, apologizing for a hat, or bemoaning a mouse’s dinner menu. Choose four protagonists from four different Mansfield stories. Identify, unpack, and analyze a moment of psychological displacement fundamental to understanding the protagonist. Explain how this complex moment signals commentary about the psychological mechanisms controlling human pain, the unrealized potential of the protagonist and/or the injustices that occur when social strictures limit human life. Finally, discuss whether the protagonist undergoes a true revelation about the repressed reality that surfaces. Is there a sense of closure experienced by the end of the story? Why or why not?One of the common features of literary modernism is the celebration of individuality discovered in nonconformity and rebellion, personal autonomy, the authority of individual truths, and the necessity of embracing personal desire. Such a celebration is certainly found in Stephan Daedalus’s bold and defiant mantra: “I will not serve.” Many of the characters in modernist texts assert a self-determined identity rather than allowing for an identity to be imposed on them through social norms, religious ideologies, nationalism, gender roles, sexual category, patriarchy, or a colonizing culture. How do modern writers express the desire to celebrate individuality and nonconformity? How does that celebration find expression in modern experiments with narrative innovation (nonlinear narrative, stream of consciousness, fragmented structure, subjective point of view, or psychological conflict)? How do writers create sympathy for characters who feel a deep desire to cast off their social fetters and become free to make individual choices outside the expected norm? To complete this prompt, choose three texts from our reading list. For several modern writers, a singular, coherent, and unified sense of Englishness ceased to exist after the war. Writers such as Virginia Woolf, for example, allow us to glimpse a social world that exists as a fractured mosaic of individual experiences. In fictional works like Jacob’s Room, “The Mark on the Wall, and “Kew Gardens,” the fragmentary qualities of the narrative reflect the subjective experiences of reality, the fractured flow of conscious thought, and the disjointed aspects of the modern social collective made up of individuals with different perspectives and sometimes inscrutable experiences—women of different classes, ages, and cultural backgrounds, ex-soldiers, aristocratic men, the working poor, young girls with a new political agenda. To a certain extent, we can see writers beginning to address the modern complications and questions that arise regarding identity formation. How do modern writers further explore the complexities of individual and collective identity in a fractured, modern world? Is a unified sense of Englishness simply a myth? How do four modern texts address this? Or, to what extent, does each text show audiences the complications of a protagonist’s journey toward self-discovery as it relates to a modern awareness of social class, sexuality, gender, nationality, or religion? How would you describe the attitudes of four modern writers toward the notion of a unified sense of Englishness? Choose four texts from our reading list. Use specific examples and focus the discussion carefully. Many critics believe that Jean Rhys’s revisions to Charlotte Brontë’s classic narrative, Jane Eyre, directly subvert the imperial function of nineteenth century English literature. That is, Rhys provides a full and rich story for Brontë’s Bertha, the “wild woman” nineteenth century English readers conveniently categorize as a foil for Brontë’s protagonist. In doing so, Rhys takes a marginal character and makes her the central focus of an already established English text, and consequently, Rhys re-tells the story of England’s relationship to the West Indies in a way that deconstructs the notion of English superiority over supposedly inferior island cultures. How do Rhys’s revisions to Jane Eyre deconstruct the binary oppositions between England and West Indies, civilization and barbarism, and order and chaos? (Consider any of the following: contrasting points of view shared between the English, the White Creole, and the Afro-Caribbean; Antoinette’s and Rochester’s contrasting visions of the landscape; dueling narrative points of view; Obeah, images of fire, the burning of Thornfield Hall….)In assessing Lawrence’s work, Hugh Stevens argues that Lawrence’s writing before WWI establishes “an opposition between an industrial England and a pastoral, agricultural England” (50). Stevens insists that the war magnified and “intensified” this opposition: “In Lawrence’s eyes, the war was responsible for the passing of an old organic England, which is supplanted by modernity, an England of mechanized, inorganic alienation.” While WWI and its aftermath solidified Lawrence’s critique of modern mechanization, many scholars note that his attitudes about the New Woman changed after the war. Certainly, some academics characterize Lawrence’s pre-war writings as harboring profeminist sentiment, while the writings of the post-war Lawrence embody ambivalence toward female empowerment. How do these potential pre-war and post-war oppositions play out in The Rainbow (1915), “The Horse Dealer’s Daughter” (1922) and “Tickets, Please” (1919)? How do these texts demonstrate Lawrence grappling with ways to navigate, criticize, resist, or soften modern changes whether wrought by the techno-capitalist machine or the New Woman?In The Great War and Modern Memory, Paul Fussell analyzes the significance of irony as a foundational paradigm by which we understand the circumstances of World War I and its aftermath. Fussell’s study reveals that one of the ways writers gave voice to the unspeakable experiences of WWI was to allude to pastoral literary traditions that highlighted what the soldier’s experience was not. Very often images recalling the peaceful pastoral world of the countryside were included alongside the horrors of the trenches. Yet, the pastoral images included in literature about war—green fields, birds, flowers, shepherds—also allowed these writers to create a respite, a safe literary space to experience a pre-war reality stripped from them. Additionally, the invocation of such pastoral traditions called attention to a sense of loss and a broken connection to a past world of safety, beauty, and meaningful purpose. The uses of pastoral imagery can be considered to be a means for reflecting on the disruptive experiences of the war as well as the irony the writer felt at no longer being able to use traditional literary schema for communicating the awfulness of the war experience. Irony was a particular way of articulating the ruin of all that is safe and beautiful. Although Fussell’s study primarily focuses on the literature produced by combatants, he also includes literature produced by non-combatants as well. How do West, Woolf, and Lawrence incorporate pastoral and rustic imagery as a means of articulating the damage and loss wrought by mechanized warfare? Is this imagery ultimately ironic?