The Translational Genomics Research Institute Essay

Introduction: The Translational Genomics Research Institute (TGen) is a not-for-profit organization specializing in the research of various types of cancer and rare diseases as well as new drug discovery for many of these diseases. It has been a leader in the cancer genomics research field over the last several years. TGen has a number of laboratories, led by individual research scientists, where research is carried out. As a not-for-profit organization, TGen is funded by donations and research grants. By the nature of its work, the culture at TGen has been mostly adhocracy. Problem Definition: Research, as it typically occurs at TGen, is carried out by a lead researcher (the subject matter expert) along with a team of supporting staff (research assistants, laboratory and administrative staff). The laboratories typically function as closed systems. Because of the novel nature of the research often carried out by TGen, very few subject matter experts are available. Also, with very high egos at stake, researchers are often very protective of their research data and findings. According to the Harvard Business Review, â€Å"the higher the educational level of the team members is, the more challenging collaboration appears to be for them† (Gratton and Erickson, 2007). TGen faces this exact scenario as a greater percentage of all research staff hold one or more advanced degrees with a majority holding PhDs. This has resulted in very minimal collaboration between different laboratoriesShow MoreRelatedThe Division Of Neurosurgery At The University Of Arizona1717 Words   |à ‚  7 Pagesthe highest level of neurosurgical care, the division’ surgeons advance neurosurgery knowledge and practice through research and innovation. Below is a synopsis of the Neurosurgery division‘s research area of interest, activities, contributions and future goals/direction. 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Should Spanking Be Considered a Form of Disciplinary...

Annotated Bibliography Issue: Should Spanking Be Considered A Form Of Disciplinary Punishment? Book: Kazdin, Alan E. and Corina Benjet. â€Å"Spanking Children: Evidence and Issues.† Yale University School Of Medicine. Child Study Center. 2003. Web. 27 Oct. 2011. This site is an online article clip from a book published by The American Psychological Society. Within this article are the discussion of different views on spanking, key conclusions about its effects, and the methodological limitations of the research and resulting points as to why it’s under current debate. This is an extremely reliable source, due to the fact that it is a well-known society and was also written by students of one of the tops schools in the USA. Discussed†¦show more content†¦The information I received from this source will not be used because there is not enough information giving. It is more like a statement than an explanation of why spanking should not be used. â€Å"Is Spanking a Part of Raising Children or Is It Simply Child Abuse.† Naasca.org. National Association of Adult Survivors of Child Abuse. 28 Oct. 2011. Web. 29 Oct. 2011. Mcconnell 3 Mcconnell 3 This website is a highly respected non-profit organization; it’s continuously updated and has over 4,000 pages of information devoted to broad issues. The information that’s provided comes from many different studies, the website is somewhat biased. It was published to help show people that they were abused in many ways and so even the slightest form of punishment is abuse. However the website withholds many reliable sources, this page is a bit lacking with data that has sustainability. Instead of writing one story as to why spanking should be banned they found many articles that were related to the issue of spanking. It does not give support; one article is about how a woman got her children taken away because in the state of Texas you’re not permitted to spank your children. The article states a quote from the judge, â€Å"In the old days, maybe we got spanked, but there was a different quarrel. You don’t spank children. You understand?† Different places have different views. The information received from this writingShow MoreRelatedEffects Of Positive Punishment On Children1562 Words   |  7 Pages This paper will explore effects of positive punishment on children from research conducted through an online database. The articles however vary in certain aspects and perspective of punishment. Lansford, Wagner, Bates, Pettit, Dodge (2012) discuss the controversy as to whether or not infrequent spanking is related to the higher levels of externalizing behavior. Fletcher (2012) discusses whether or not the use of punishment is effective on children. Straus (1999) suggested about 15 years ago thatRead MoreEssay On Child Discipline1296 Words   |  6 PagesThere are many forms of discipline that parents use and they all have an effect. Some work better for some children while other forms may work for another. Parents can sometimes be stuck with how they should discipline their children and they want to know more about what is effective. In terms of punishment one form that is commonly used is corporal punishment, which is punishment in the physical form. One form of corporal punishme nt is spanking. For years and years, the spanking debate has beenRead MoreParents and Physical Punishment1052 Words   |  5 Pagesshow that 90 percent have used some form of physical punishment on their children† (Graziano 1). So therefore, we can all agree that when it comes down to being punished, parents more often than not resort to spanking their child(ren). That being said, many parents will readily agree that spanking a child should not be considered a form of child abuse. However, the question still stands: how far does the spanking have to go in order for it to be considered child abuse? Although some are convincedRead MoreCorporal Punishment And Its Effect On Children1708 Words   |  7 Pagescorporal punishment; some of the reviews take a look at who is most affected by corporal punishment in terms of focusing their lens on race, socio-economic status, gender, culture etc. Some also take a critical look at the advantages and disadvantages of corporal punishme nt. Some take a look at the widespread of corporal punishment in the US. Cases against corporal punishment and the effect of corporal punishment on children were also looked into. With all the different ways corporal punishment has beenRead MoreCorporal Punishment Is A Discipline Method1650 Words   |  7 Pagescriminal law, â€Å"Spanking, also called corporal punishment, is a discipline method in which a person inflicts pain on a child without inflicting injury and with the intent to modify the child’s behavior. Forms of corporal punishment include hitting a child’s bottom, slapping, grabbing, shoving, or hitting a child with a belt or paddle† (Mince-Didier). Supposedly people against spanking define it broadly so that it can be easily be connected to child abuse. People who support spanking tend to uses definitionsRead MoreThe Effects Of Spaking And Child Abuse866 Words   |  4 Pages . Adults who remember being spanked by a parent for misbehaving may carry on this behavior as an acceptable form of punishment for their own children. Others believe spanking to be an outdated punishment that is cruel and can cross the line to physical abuse. Some also believe spanking allows a parent to immediately stop a dangerous action, and, as a traditional form a discipline, may be necessary to communicate a message about negative behavior to young children who may not understand verbalRead MoreSchool Punishments Are Ineffective And Necessary1916 Words   |  8 Pagescorporal punishment are usually their options and most students hope to decrease their class time when they misbehave and detentions and suspensions accomplish this. Corporal punishment is the spanking of students which creates fear. School punishments are ineffective and need to be altered toward counseling techniques between the student committing the offense and the teacher to lower student misconduct. Background Controversy takes place when school systems facilitate familiar disciplinary actionRead MoreCorporal Punishment Is A Used Form Of Discipline Around The World1516 Words   |  7 Pages Corporal punishment is a commonly used form of discipline around the world. Author Dobson, J. (2013) defines corporal punishment as the use of physical force without causing harm with the intention of disciplining or modifying behavior in children. Pain, but not injury is how corporal punishment is distinguished from physical abuse. Many ask, when does corporal punishment become physical abuse? According to The Federal Child Abuse Prevention and Treatment Act of 2010, child abuse is when Any recentRead MoreThe Issue Of Corporal Punishment Essay2067 Words   |  9 Pagescorporal punishment, i.e. spanking, and whether its use should be endorsed or condemned, has long been debated. Research on this topic is difficult, especially because it is ethically impossible to assign children and parents random ly to groups that use spanking as a disciplinary method. And even if researchers track children who are spanked, it is just as impossible to accurately measure every contributing variable – from children’s behavior and parents’ intents, to the intensity of the punishment andRead MoreCorporal Punishment Is Defined As The Utilization Of Physical Force1459 Words   |  6 PagesThe term corporal punishment is defined as the utilization of physical force with the intention of causing a child to experience pain, yet not harm, for the purpose of correction or control of the child’s behavior. Seven nations Sweden, Finland, Denmark, Norway, Austria, Italy and Cyprus-have laws making it illicit for parents to utilize physical discipline on their children. Corporal punishment in schools has been banned in every one of the nations in Europe, South and Central America, China and

Marlowe, Edward II, and the Cult of Elizabeth Essay Example For Students

Marlowe, Edward II, and the Cult of Elizabeth Essay Introduction I recognise my title may appear an archaic reversion to the critical discourse of the later 1980quot;s: after all, Edward II is one of a select group of Elizabethan literary performances that has so far failed to arouse much critical interest in such terms. This state of affairs is surprising for several reasons. There was, for instance, a strong and continuing Elizabethan and Jacobean curiosity about the reign of Edward II and the years immediately following his death I have in mind the writings of Heywood, Jonson, and, above all, Michael Drayton, not to mention the important account of Edwardquot;s Queen, Isabel of France, in Foxequot;s Actes and Monumentes, and Elizabeth Careyquot;s Edward II. On the other hand, the playquot;s relative neglect is understandable. Like Shakespearequot;s Lovequot;s Labourquot;s Lost or King John, for example, Edward II represents power relations in ways that may seem, at first sight, to be unassimilable to some contemporary interpretive procedures, or at least inconsistent with some venerable and resilient assumptions. We have only to recall the very powerlessness of the rulers depicted in these plays, together with the scrutiny and questioning to which their words are routinely subjected by other speakers. Claude Summers has located the playquot;s heterodoxy in its refusal to subscribe to a comforting Tudor political myth: in the words of Marlowequot;s Edward Am I a king and must be overruled? 1. 1. 134. An important element in the context of Edward II is the widespread 1590quot;s interest in Mortimer and in the Baronsquot; Wars, but I do not wish to elaborate on this phenomenon; rather, I seek to relate Edward II to the cult of Elizabeth, suggesting that it participates fully in the discursive procedures that surrounded the Tudor monarchy. Let me state my argument at its starkest: I propose that in Marlowequot;s play the image of the king may be construed as a negative exemplum, being defined negatively in terms of the well established cult of Queen Elizabeth. Similarly, Shakespearequot;s King Lear establishes a pointed contrast between the assiduously promoted public image of King James as judge, patriarch and unifier of the kingdoms of Britain, and Shakespearequot;s depiction of Lear, the last ruler of the whole island, as one who judges foolishly, fragments his family and carves up his realm. Like the world of Lear, that of Edward II is constructed as an admonitory negative example for the present. Moreover, the parallels extend beyond the age to the more specific question of the ruler as an individual, and that, of course, was a question that could hardly be considered or even imagined outside the terms of reference of Elizabethquot;s cult. Allow me to cite another negative example. In Shakespearequot;s Twelfth Night a text which operates, as Marlowequot;s does, through gender reversal, Orsino seems designed almost as an anthology of many of the personal inadequacies that might hamstring a ruler. More specifically, his failings are those conventionally associated in Tudor misogynist discourse with a female ruler. He is, as women were held to be by such writers, changeable, governed by his moods and passions. And he falls in love with one of his followers, who thereby becomes specially favoured among his entourage, consequently threatening the political system and the delicate balance of relationships among his subjects. He is therefore, like Edward II, the antithesis of Queen Elizabeth: it is against the ideal of the ruler as enshrined in her cult that he is judged and found wanting. Culture of the Early 1590quot;s By the early 1590quot;s, Elizabeth might have been forgiven for thinking that such issues had been thoroughly ventilated a generation before, at the time of her accession and in the question of her marriage. But one of the features of the Elizabethan settlement was that nothing was ever finally settled: there was always room for renegotiation, revaluation, changes of emphasis. Alan Sinfield has argued for an understanding of the Elizabethan state not as a static totality whose power structure is revealed in the ideology of monarchy, but as diverse and changing, a site of profound contradictions. Certainly, it was a site of conflicts, checks and balances, not just between the aristocracy and an emergent, upwardly mobile middling sort, but also between groups within the nobility. Elizabeth had evolved a strategy for dealing with the competitive pack of nobles who served her: Sir Robert Naunton observed that The principal note of her reign will be, that she ruled much by faction and parties, which she herself both made, upheld, and weakened, as her own great judgement advised he commented that we find no Gaveston, Vere, or Spencer to have swayed alone during forty-four years. Elizabethquot;s cult had a purpose: its central image of singleness and immutability the Queenquot;s motto was Semper eadem, always the same was constructed in response to threats of fracture, disruption, and rebellion. And its most extreme manifestations in the 1590quot;s imply profound anxieties both about the current political climate and about the unknowable almost literally unthinkable future that would unfold after Glorianaquot;s death. Marlowe constantly nudges the spectator to find contemporary parallels. Thus, although the historical Edward had been in his early forties at his death, Marlowe explicitly makes him an old man he is aged at 5. 2. 118, Old Edward at 5. 2. 23, and is compared to an old wolf at 5. 2. 7. The world of the play is that of the money economy, in which the crownquot;s finances were under increasing strain. It is a site of conflict between an old aristocracy and a new one. It is a world like that of the 1590quot;s, in which financing wars in France empties the treasury coffers. Leah Marcus has recently shown how Shakespearequot;s Joan La Pucelle in 1 Henry VI is presented as part of critique of the Queenquot;s hesitations in foreign polity, and there is a similar contemporary implication in the depiction of Edwardquot;s failure to meet his financial obligations. By 1592, there was a disruptive influx of deserters from the French wars, some of whom were reported as using most slanderous speeches of . . . er Highness: in the following year, these wretched men crowded round the Queen and petitioned her at every opportunity: a contemporary wrote, The Queen is troubled wherever she takes the air with these miserable creatures. Leicester had died in 1588, Walsingham in 1590, and Burghley was not in good health. It was clear that the Queen would have to listen to the voices of the younger generation, and that the question of the succession would lie beneath her dealings with them, just as the question of marriage had informed her relations with the older generation at the time of her accession. So the controversies and tensions of the 1560quot;s surfaced again a quarter of a century later, in the time of confusion and trepidation that followed the scarcely believable victory over the Spanish Armada. Courtly Performances The courtly behaviours that we see in the play are recognisably Elizabethan. To cite some relatively trivial instances, early in the second act, Edward compares himself to Danaequot;s lover, Gaveston to the shepherd seeing the first shoots of spring. Their self-presentation relates them to the fashions of Ovidian and pastoral writing in the 1590s. While earlier Mortimer had left the court like a disaffected 1590quot;s melancholic, Unto the forest . . . To live in grief and baleful discontent, For now my lord the king regards me not . . . . This represents the typical behaviour of the political exile, or disaffected lord the Earl of Essex regularly acted in this way in the 1590quot;s. Marlowequot;s Isabella likewise declares I will endure a melancholy life, And let him frolic with his minion 1. 2. 66-7. Gaveston the Elizabethan Courtier The most striking example, however, is Gaveston himself, who is figured as the quintessential Elizabethan Courtier. He is praised by Spencer, for instance, as the liberal earl of Cornwall recalling Elyotquot;s observation that liberality resteth not in the quantity or quality of things that be given, but in the natural disposition of the giver. When in the first scene of the play Gaveston anticipates the performance of his new role as royal favourite, he uses terms that explicitly echo the behaviours and discourses of royal celebration under Elizabeth. At least one Elizabethan political theorist mounted a defence of Gaveston, arguing that although he may have been personally proud, he did little harm, and was certainly not an argument against the hereditary principle. One recent critic compares the King and Gaveston at their window to courtiers on the Elizabethan stage 1. 4. 416-8. Like Essex and Leicester, Gaveston is characterised as an impresario of courtly entertainments 10. In the early scenes of the play there is a sense that the nobles are mainly moved by snobbery and that Gaveston is in his anarchic way on the crowdquot;s side against entrenched privilege. Technological development EssayHe is punctilious in his greeting to Gaveston at 2. 2. 68 Welcome master Secretary. In the space of a few dozen lines we are apprised of a Pembrokequot;s support for the crown, when Edward says Pembroke shall bear the sword before the King, and the Earl replies, And with this sword Pembroke will fight for you 1. . 352; b Pembrokequot;s support for the killing of Gaveston in his taking an oath to that effect 2. 2. 108; and c his sensitivity to popular opinion, This will be good news to the common sort 1. 4. 92. In the debate in 2. 5 where the lords consider how they should respond to the Kingquot;s request for Gavestonquot;s return, it is Pembroke who proposes a solution: Because his majesty so earnestly Desire to see the man before his death, I will upon mine honour undertake To carry him and bring him back again . . 78-81. And his disinterest is stressed: My lords, I will not over-woo your honours, But if you dare trust Pembroke with the prisoner, Upon mine oath I will return him back. 87-9 Lancaster is given words that confirm the trust reposed in Pembrokequot;s honesty I say, let him go on Pembrokequot;s word 91. Pembroke subsequently rebukes Arundel with a breach of chivalric honour in abducting Gaveston: Your lordship doth dishonour to your self / And wrong our lord, your honourable friend 3. . 9-10. Arundelquot;s narrative of these events includes a defence of Pembrokequot;s behaviour saying he said least during the debate on rebellion and then reporting that The Earl of Pembroke mildly thus bespake . . . I will this undertake, to have him hence And see him redelivered to your hands. 3. 2. 108-112 Blame is specifically not attached to Pembroke Arundel goes out of his way to identify Warwick as the dishonourable and untrustworthy villain. It is at such moments that we recall the words on the title page informing us that Marlowequot;s play had been publiquely acted by the right honorable the Earle of Pembrook his seruantes, and there are episodes when this fact is reflected in the script very crudely. So, for instance, when Warwick appears in the first moments of the third act to say: My lord of Pembrokequot;s men, / Strive you no longer 3. 1. 7- 8, the words would have had a special resonance in performance. Ambiguity Spencerquot;s advice to Baldock about how he should turn himself from a scholar into a courtier has some relevance to Marlowequot;s own situation. It is not servility that gains favour, Spencer says, You must be proud, bold, pleasant, resolute, And now and then stab as occasion serves 42-3 If we look at the important scene 2. 2 which features the devices by Mortimer and Lancaster, Mortimerquot;s device of the diseased cedar may recall the use of a tree to represent the state res publica during Elizabethquot;s entry pageant in the City of London in 1559. It is parallelled by Lylyquot;s use of the image in Sapho and Phao, but is also fairly commonplace. 18] Lancasterquot;s emblem of the flying fish that faces death whether it flies or swims is hardly more complex or ambiguous. It may well be the crudity of the images, their lack of teasing ambiguity or subtlety, that makes them unsuitable. As is now widely recognised, ambiguity was a feature of Elizabethan courtly performance. In the Arte of Rhetorique, Thomas Wilson had described how the miseries of the courtierquot;s life could be described by the use of similitudes, examples, comparisons from one thing to another, apte translacions, and heaping of allegories. And one of the most famous allegorical performances of Elizabethquot;s reign occurred at Kenilworth, where the Queen was entertained by Robert Dudley from 9 July 1575. Marlowe collapses history, reminding us of this episode when he has Leicester say to the King in the fourth act Your majesty must go to Killingworth 4. 4. 81. Dudley had collapsed history too, in a way that connects his show with Marlowequot;s play. When Elizabeth entered the castle precincts, she made her way into the newly-constructed tiltyard by passing under an edifice called Mortimerquot;s Tower. William Dugdale in his antiquities of Warwickshire reports that Leicester caused the tower to be decorated with the Arms of Mortimer . . . cut in stone. Now Leicester was clearly invoking the memory of a previous owner of Kenilworth, Roger Mortimer, who had staged a great pageant based on the idea of the round table in 1279, and his own diversions for the Queen explicitly tapped into the same Arthurian myth. But Dugdale and he cannot have been alone took the arms to be those of a different Mortimer, grandson of the above, namely our and Marlowequot;s Mortimer, the Earl of March, lover of a Queen who shared Elizabethquot;s name, and therefore, in Dugdalequot;s view, a precedent of sorts for Dudley himself. Perhaps the inscription on the tower participates in the same strategy of obliquity that Marlowequot;s Mortimer deploys with his letter to the murderers. The application of the inscription could be taken as a powerful declaration of desire, of courtship: but it could equally plausibly be glossed as an act of courtesy, as a fulsome welcome by a generous host. Like most Elizabethan treatments of political questions, Edward II is necessarily oblique, constructed like Mortimerquot;s letter or Dudleyquot;s inscription on the basis of what Annabel Patterson in Censorship and Interpretation following Pierre Bourdieu refers to as functional ambiguity. The playquot;s commentators have connected such ambiguity with its tendency to question, to qualify, to undermine. 23] They might also have connected them with Elizabethquot;s crab-wise journey towards signing the death-warrant of Mary Queen of Scots. The play seems designed to prevent comparisons from hardening into allegory, allusions from implying applications. If Edward is a negative example of Elizabeth, what are we to make of Isabella? Her very name would have had a special resonance for an Elizabethan audience, and there were many attempts in the period to analyse her behaviour, to ask if her rebellion was justified, to investigate the power-relations in her involvement with Mortimer. 24] In Marlowequot;s version, her subjection to Mortimer also constitutes a warning, and involves the danger of a Protectorate: he tells her, erect your son with all the speed we may . . . that I may be protector over him 5. 2. 11-12. The focus of the play is partly on the king himself, of course. And as such it poses a negative example, an opposite model of monarchy from the one Elizabeth was acting out. But it also investigates the predicament of those who have to live under a monarch who thwarts expectations and repudiates convention. Marlowequot;s play is an anthology of career moves for the Elizabethan courtier: the range stretches from those who are presented as honourably negotiating the conflicts of loyalty implicit in the courtierquot;s life Pembroke and Leicester through those who succumb to their pressures Warwick, Kent, Arundel to those who are fatally drawn to the centres of power, in order to literalise the metaphoric eroticism of service and duty. For Gaveston, Spencer and Mortimer, the opening allegory of Actaeon is actualised in their experience as a salutary warning to future ages. But as Debra Belt has shown, Marlowequot;s is a highly self-conscious art, in which acts of speech and of interpretation are shown to be complex and interlocking. If one version of the Elizabethan ideal in the play is the young Edward III, virginal, ruthless, and decisive, then perhaps Marlowequot;s own ambiguities are understandable. It is as if he has taken to heart Spencerquot;s advice to Baldock You must cast the scholar off / And learn to court it like a gentleman 2. 1. 31-2. Marlowe approaches Diana more obliquely than Mortimer or Gaveston; in so doing he produces in Edward II one of the most charged and subtle dramatic engagements on the public stage with the cult of Elizabeth.

Thesis Writers in South Africa free essay sample

Write a comparative essay in which you provide a close critical analysis of Lisa Combrinck ‘To the Reader and Eva Bezwoda’s ‘A Woman’s Hands’. You should discuss each poet’s treatment of themes relating to womanhood and the desire for freedom. Considering relevant contextual issues as and read where appropriate. University of the Witwatersrand WISEMAN SHABALALA 722901 ENGL1003 Write a comparative essay in which you provide a close critical analysis of Lisa Combrinck ‘To the Reader and Eva Bezwoda’s ‘A Woman’s Hands’. You should discuss each poet’s treatment of themes relating to womanhood and the desire for freedom. Considering relevant contextual issues as and read where appropriate. University of the Witwatersrand WISEMAN SHABALALA 722901 ENGL1003 In analysing Lisa Combrinck’s ‘To the Reader and Eva Bezodwa’s ‘A Woman’s hands’ it is vital to take note of the thematic concept of freedom; the power to act, speak or think as one wants without restraint, and woman hood, the qualities considered to be the characteristic of a woman. We will write a custom essay sample on Thesis Writers in South Africa or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In this text the concept of womanhood and freedom in relation to the patriarchal system within apartheid is used to interpret the interplay among images, language, tone and other poetic devices in understanding of both poems. These poems illustrate a different struggle to the one established by the concept if apartheid; they show the conflict of interests among sexes as the struggle within the struggle. Furthermore this text will illustrate my thesis in response to the poet’s ideas; patriarchal conservation was necessary to secure racial apartheid. In line 1 of ‘To the Reader, â€Å"Why should a woman not write erotic love poems? This potent rhetorical opening line draws the reader (one that reads in context) to free his mind from stereotypes and interact with the poem within Lisa’s perception. In Eva Bezwoda’s poem, (line 3)†My hands are tired of holding†, her idea of letting go is in sync with Lisa’s line 1 as both women express the desire to be free. Line 1 of ‘To the Reader’ (as well as line 3 of ‘A Woman’s hands’) can be observed as polemic criticisms to patriarchal conservation. In this repute it is imperative to understand the degree at which gender apartheid participated in the progression of the racial apartheid dispensation in South Africa. The male role was generally believed to be superior to the women’s role to the degree that women were paid far less than men even when they did the same job and women worked longer hours for so called ‘women related jobs’ e. g. baking without benefits. The idea of woman oppression was always under the shadow of racial oppression and these poems address this issue by suggesting that the gender struggle is more important than the racial struggle. Now that the text has covered the contextual issues of the poems understanding these women’s ideas in context makes their work more coherent. The style in which both these writers convey their message is fairly similar to point that the reader would feel like they are having conversation with the speaker in regards to the fact that these poems are written in the first person voice. This idea is emphasised by the use of free verse (in the sense that there is no structure to follow the reader can read the poem without the technicality of rhythm diverting his attention from the content) and pause in some places to allow the reader to reflect on their understanding on certain lines. In Lisa’s poem she places words such as ‘oppressor’ and ‘wounds’ on separate lines independently to Challenge the reader’s perspective of these words in context. It seems like she wants the reader to reflect on these words in the sense of a different struggle, the struggle she introduces in line nine; the struggle for love. Lisa mentions the racial struggle as a reference tool for her argument where the oppressor is the entire system and its effects on the minds of people in society. She infers hat freedom is not only a physical state of being but rather that it is internalised power influenced by the power of love, furthermore she deepens her argument by suggesting that this power lies in woman and that men should, along with the entire system, should reconsider their concept of womanhood and interpret it in its fullest capacity and value. In Eva’s poem one could suggest that the idea of freedom connects with Lisa’s idea based on the fact that she wants to extricate herself from the status quo of womanhood in her society completely. She argues against the traditional role of a woman in the apartheid regime and has a strong desire to free herself from all types of bondage and obligation even those related to spiritualty (lines 6 and 7). The use of free verse, when paying attention to the poetic devices used in these poems, works as a tool that displays rebellion and the desire for freedom. In Lisa‘s poem she makes it clear that freedom cannot be achieved without the realisation of the woman’s value and that the struggle will indefinitely continue unless people spare some time to love. The idea of erotic love can also be included in the idea of people loving one another because, according to ‘To the Reader’ in ( lines 11 -12) in this activity a sense of freedom is realised and expressed. Within the idea of freedom Lisa also suggests that everyone is held captive by hate because â€Å"No one is in love with the struggle† (line 13). Lisa’s thesis can be abridged in this idea; love is the quintessence of freedom and women are the essence of love. The use of free verse in Eva Bezwoda is intrinsically rebellious and as extreme as Lisa’s (in reference to erotic love poems) as she goes against gender apartheid, traditional perspectives on freedom and even biblical views of women. The speaker insists on being detached from all forms of bondage set at by social, spiritual and political ideals. She has an extreme perspective in terms of freedom in this poem in contrast to the other poem she feels no need to redefine the role of a woman in society she purely rebels and rejects any form of reform to the status quo. In summation she would rather have no capabilities to perform the things woman are expected to perform. In both poems the speakers used personification. However it is interesting that in observance one sees that these poets use alliteration to extricate themselves allusively from the personified actions even though they speak in the first person voice. Lisa Combrinck (in lines 3-8) personifies her poems suggesting that the poems have the ability to shape words into slogans, salve-covered swabs, spears etc. to carry a message across. With this poetic device Lisa Combrinck detaches herself as the writer and suggest that the poem in its personified abilities produced the poetry related to the racial struggle; in this instance she could be saying that the struggle poetry is written as a means to be relevant to society at the time, however in relation to the struggle she, out of the faculties of self, wrote this poem in contrast to the poems about the struggle as her concept of the actual struggle the one she personally views to be more important. In this poem she surmises that women can eliminate apartheid with the power of femininity; the power of love. Eva Bezwoda personifies hands and deliberately speaks of them as their own entity. In this manner she suggests that women are not definable by the work of their hands and therefore she also refuses to connect herself to her hands and her work because those very facets of the ideology of womanhood in apartheid ultimately defined the woman in society. The speaker personifies the hands and suggests they would still function without her because she was never one with them in a figurative sense. Even though both these women put up strong arguments I believe it is important to understand the struggle in all its aspects. To a certain degree love could influence a little bit of change amongst individuals. However the role of men being patriarchs in the apartheid dispensation is compatible to the survival of the state as a whole. On no grounds do I aim at criticising the poet’s views on women in gender apartheid, however I wish to mention that women are generally known to be caring (this stereotype can be found in most women) and if women were given the power of liberty in its fullness they would probably be destructive to the progression of apartheid. If the women showed compassion and dismantled the struggle some black people would avenge their suffering there possibly would have been a civil war seeing the extinction of the white man in South Africa. Patriarchal conservation was a vital tool to the survival of the white demographic and the control over the black group. Women were deliberately oppressed not because they were inferior to men but because they were a threat to the apartheid regime and would comply with it. I, just like Lisa, believe that women are powerful and valuable however the struggle needed to be prolonged to a time when its end would have peaceful results. My thesis can be explained with these words; patriarchy was necessary. My thesis might be in direct contrast with the desire for freedom in woman, however, my thesis could probably hold weight in the regard that freedom is a state of mind and that the freedom of mind is superior to the physical state of liberty. Black people in the struggle were held captive in their minds and the only way they could mentally break out was through the theories of intellectuals like Steve Biko. People like Steve were least and had a controllable effect on government, in contrast, if everybody was given freedom especially women more black people could have been empowered to the degree that they would overturn the Government. The theme of freedom is interpreted in different ways by both speakers however the idea of womanhood is interpreted in a similar sense. Both poems address patriarchal conservation and its effects on the role of the woman.