Florence Nightingale Essay

The Polar Area Diagrams of Florence Nightingale If you read the article on Florence Nightingale in â€Å"The Children’s Book of Famous Lives†1 you will not learn that she had to battle with her parents to be allowed to study Mathematics. If you read the Ladybird book â€Å"Florence Nightingale†2 you will not discover that she was the first woman to be elected as a Fellow of the Royal Statistical Society. In looking around for an area of research I was intrigued to discover that Florence Nightingale, who I always thought of as the â€Å"lady with the lamp†, was a competent Mathematician who created her own type of statistical diagram which she used to save thousands of soldiers from needless death. Florence Nightingale headed a group of 38 nurses who went to clean up the hospitals for the British soldiers in the Crimea in 1854. She found that most of the deaths were due to diseases which could be prevented by basic hygiene, such as typhus and cholera. Her improvements were simple but they had an enormous effect: â€Å"She and her nurses washed and bathed the soldiers, laundered their linens, gave them clean beds to lie in, and fed them†3. When she returned to Britain she made a detailed report to the Government setting out what conditions were like and what needed to be done to reduce deaths in the hospitals. Nothing was done, so she tried again, making another statistical report and included in it three new statistical diagrams to make data collated by William Farr more accessible to people who could not get their minds around tables of figures. These were her polar area diagrams or rose diagrams, sometimes also known as ‘coxcombs’. The first showed how many men had died over the two years 1854-5, the second showed what proportions of men had died from wounds in battle, from disease and from other causes, the third showed how the number of deaths had decreased once â€Å"sanitary improvements†4 had been introduced. I decided I would try to recreate the second of these diagrams which is the most complicated and the most shocking. It is called â€Å"Diagram of the causes of mortality in the army in the east†. A copy of it is below: Mathematics SL and HL teacher support material 1 Example 6: Student work Figure 1 The basic ideas are very simple. The blue area represents deaths due to disease, the red area represents death due to wounds in battle and the black area represents death due to other causes. I tried to find a copy of the data which this diagram represented, but I had no luck, so I decided to make sure I understood exactly how the diagram was made and to make my own version of some data which I did have to hand. Once I tried to understand the diagram in detail I found there were some problems. The First Problem I wasn’t sure whether the black area in a shape such as this: was supposed to be this area or this area Mathematics SL and HL teacher support material 2 Example 6: Student work In other words, were the colours separate, or overlapping? The articles I read didn’t make it clear. O’Connor says that â€Å"The area of each coloured wedge, measured from the centre as a common point, is in proportion to the statistic it represents†5, which makes it seem that all colours are wedged shaped, or sectors, so the colours overlap. However, Lienhard commented that in the November 1854 section â€Å"battle deaths take up a very small portion of each slice†6, which makes it sound as though the slice has three separate portions, and Brasseur says that â€Å"she also divided the areas within each of the wedges to show which portion of the mortality data for that month could be allotted to each cause of death†4. I decided to construct polar area diagrams for a set of data with the colours separate and with the colours overlapping to see if putting theory into practice would make it clearer to me. The data I used was taken from the IB grade distribution statistics for the past 15 years at my own institution. I used the numbers taking Higher Mathematics, Standard Mathematics and Mathematical Studies to be represented by my three colours. I took the old Mathematical Methods course to be the same as Standard Mathematics. To fit 15 sectors into the circle I needed each arc to subtend an angle of 2Ï€ radians at 15 1 2Ï€ Ï€ the centre. The area of each sector would then be A = r 2 = 2 where r is the r Ãâ€" 2 15 15 radius of the sector. Since the area needs to be proportional to the statistic, I needed to 15A and just used a scale which would allow me to draw find the radius, so I used r = a reasonable sized diagram. To create a polar area diagram with overlapping sectors I just used this formula on each of the numbers of students taking the various options. Numbers taking Mathematics year on year Numbers (A) Higher Studies Standard 1995 1 24 0 1996 4 15 0 1997 8 10 0 1998 6 31 0 1999 9 17 0 2000 10 20 0 2001 4 31 1 2002 5 21 2 2003 4 15 4 2004 5 29 5 2005 1 28 0 2006 3 16 2 2007 8 13 0 2008 11 29 14 2009 10 23 15 Radius ( r ) Higher Studies Standard 2.2 10.7 0.0 4.4 8.5 0.0 6.2 6.9 0.0 5.4 12.2 0.0 6.6 9.0 0.0 6.9 9.8 0.0 4.4 12.2 2.2 4.9 10.0 3.1 4.4 8.5 4.4 4.9 11.8 4.9 2.2 11.6 0.0 3.8 8.7 3.1 6.2 7.9 0.0 7.2 11.8 8.2 6.9 10.5 8.5 Ï€ Mathematics SL and HL teacher support material 3 Example 6: Student work I then used a geometric program (GeoGebra) to draw the sectors all with a common 2Ï€ centre, each with an angle of radians, and with the radii as given in the table. I drew 15 the Higher sectors first with the Studies on top of these, and the Standard on top of these. This was the result: Figure 2 Polar area diagram to show students taking Mathematics at one school (colours overlapping) Blue represents the number of students taking Higher Maths. Brown represents the number of students taking Mathematical Studies. Green represents the number of students taking Standard Maths. The colours are not solid, so where colours overlap there is a different colour. The blue overlapping the brown makes a pink here, and the green overlapping the blue makes a darker green. In 2003 and in 2004 there were an equal number of students taking Higher and Standard so three separate colours cannot be seen on the diagram. Next I worked out the radii needed if the colours were not to overlap. For this I used cumulative areas to work out the radii. R1 = R3 = 15 ( A1 + A2 + A3) 15 A1 15 ( A1 + A2 ) Ï€ , R2 = Ï€ and Ï€ . Radii R2 10.9 9.5 9.3 13.3 11.1 12.0 12.9 11.1 9.5 12.7 11.8 9.5 10.0 13.8 12.6 Numbers taking Mathematics year on year Numbers (A) Higher (A1) Studies (A2) Standard (A3) 1995 1 24 0 1996 4 15 0 1997 8 10 0 1998 6 31 0 1999 9 17 0 2000 10 20 0 2001 4 31 1 2002 5 21 2 2003 4 15 4 2004 5 29 5 2005 1 28 0 2006 3 16 2 2007 8 13 0 2008 11 29 14 2009 10 23 15 R1 2.2 4.4 6.2 5.4 6.6 6.9 4.4 4.9 4.4 4.9 2.2 3.8 6.2 7.2 6.9 R3 10.9 9.5 9.3 13.3 11.1 12.0 13.1 11.6 10.5 13.6 11.8 10.0 10.0 16.1 15.1 Mathematics SL and HL teacher support material 4 Example 6: Student work This gave a diagram with Higher numbers at the centre and Standard numbers at the edge, like this: Figure 3 Polar area diagram to show students taking Mathematics at one school (colours separate) Blue represents the number of students taking Higher Maths. Brown represents the number of students taking Mathematical Studies. Green represents the number of students taking Standard Maths. This diagram is incomplete in that it has not got the dates on it, but I was interested in the basic shape it would make rather than seeing it as a finished article to represent the data. I decided to do the same thing but with Studies in the middle and Higher at the edge to see how different it would look. Figure 4 Polar area diagram to show students taking Mathematics at one school (colours separate) Blue represents the number of students taking Higher Maths. Brown represents the number of students taking Mathematical Studies. Green represents the number of students taking Standard Maths. This feels very different. The blue section actually looks less significant, to my eye, being put at the edges. This made me think of something else I had read in Brasseur’s article, â€Å"Nightingale arranged these colored areas so that the main cause of death (and the largest sections)—deaths by disease—would be at the end of the wedges and would be more easily noticed.†4 I am sure that Brasseur thought that the colours were separate, and not overlapped. However, comparing my diagrams to Nightingale’s original in Figure 1, I Mathematics SL and HL teacher support material 5 Example 6: Student work became sure that she did mean them to be overlapped. I noticed that in the lefthand rose in figure 1 (representing the second year) there is a wedge with blue at the edge followed by a wedge with blue at the edge: Figure 5 A zoom in of part of figure 1 This can happen in a diagram like my figure 2 of overlapping colours, but would be impossible if the colours are separate as in figures 3 and 4. From this I deduced that the colours on the diagram must be overlapping. The Second Problem My diagrams were unlike Nightingale’s ones in that the total area of the sectors in figure 2 represented the total number of students taking the IB at this school over the 15 years. Nightingale’s statistics were rates of mortality. Basically they can be thought of as percentages of soldiers who died, but, as before, when I read through the articles again, I was unsure what they were percentages of. Gill and Gill have table (Table 2) in their article with headings â€Å"No. of soldiers admitted to the hospital† and â€Å"No. (%) of soldiers who died†3. This might suggest that Nightingale was working with percentages of soldiers who were admitted into hospital. Lewi is more definite and refers to the actual statistic of one wedge of the third of Nightingale’s polar area diagrams as follows: â€Å"The mortality during the first period was 192 per 1,000 hospitalized soldiers (on a yearly basis)†9. However, Brasseur refers to the statistic in a wedge of Nightingale’s first diagram as being â€Å"the ratio of mortality for every 1,000 soldiers per annum in the field†4, in other words a percentage of the army actually on duty. I decided to create a polar area diagram to act as an analogy to the possible situations as follows: Nightingale’s data My data Number of soldiers in the army in a month Number of students taking the IB in a year Number of soldiers taken to hospital Number of students taking Maths Studies Number of soldiers dying of wounds Number of students gaining grade 7 Number of soldiers dyin g of disease Number of students gaining grade 6 Number of soldiers dying for other reasons Number of students gaining grade 5 My analogy of drawing a diagram showing the numbers of soldiers dying as a percentage of those admitted to hospital would then be the number of students gaining a grade above 4 as a percentage of those taking Mathematical Studies. I decided to do this one by hand, partly to prove I could, and partly to see if it would throw any extra light on the construction of the diagrams. Mathematics SL and HL teacher support material 6 Example 6: Student work I gathered the data, found the percentages and used the percentages as A in the usual 15A to find the radii needed to construct the diagram. The data is here: formula r = Ï€ Numbers gaining top three grades in Mathematical Studies As percentage of those taking Studies Radius required for each Taking Total Grade 7 Grade 6 Grade 5 Studies in year % grade 7 % grade 6 % grade 5 R7 R6 R5 1995 7 10 4 24 25 29.16667 41.66667 16.66667 11.80 14.10 8.92 1996 2 9 3 15 19 13.33333 60.00000 20.00000 7.98 16.93 9.77 1997 1 4 2 10 18 10.00000 40.00000 20.00000 6.91 13.82 9.77 1998 5 12 11 31 37 16.12903 38.70968 35.48387 8.78 13.60 13.02 1999 2 6 7 17 26 11.76471 35.29412 41.17647 7.49 12.98 14.02 2000 3 4 7 20 30 15.00000 20.00000 35.00000 8.46 9.77 12.93 2001 3 8 8 31 36 9.67742 25.80645 25.80645 6.80 11.10 11.10 2002 1 8 4 21 28 4.76190 38.09524 19.04762 4.77 13.49 9.54 2003 0 1 8 15 23 0.00000 6.66667 53.33333 0.00 5.64 15.96 2004 3 9 7 29 34 10.34483 31.03448 24.13793 7.03 12.17 10.74 2005 1 11 9 28 29 3.57143 39.28571 32.14286 4.13 13.70 12.39 2006 2 4 5 16 21 12.50000 25.00000 31.25000 7.73 10.93 12.22 2007 1 8 3 13 22 7.69231 61.53846 23.07692 6.06 17.14 10.50 2008 0 3 17 29 54 0.00000 10.34483 58.62069 0.00 7.03 16.73 2009 0 5 5 23 48 0.00000 21.73913 21.73913 0.00 10.19 10.19 And the diagram came out like this: Figure 6 Polar area diagram to show percentages of students taking Mathematical Studies who gained grades above 4 Red represents the number of students gaining grade 7. Blue represents the number of students gaining grade 6. Green represents the number of students gaining grade 5. The purple areas represent coinciding numbers of students gaining grade 5 and 6. Mathematics SL and HL teacher support material 7 Example 6: Student work One thing which I learnt from this exercise is that you have to be very careful about your scale and think through every move before you start if you don’t want to fall off the edge of the paper! It is a far more tense experience drawing a diagram by hand because you know that one slip will make the whole diagram flawed. A computer slip can be corrected before you print out the result. My admiration for Florence Nightingale’s draftsmanship was heightened by doing this. The other thing which drawing by hand brought out was that, if you draw the arcs in in the appropriate colours, the colouring of the sectors sorts itself out. You colour from the arc inwards until you come to another arc or the centre. The only problem came when two arcs of different colours came in exactly the same place. I got around this problem by colouring these areas in a totally different colour and saying so at the side. At this point in my research someone suggested some more possible websites to me, and following these up I found a copy of Nightingale’s second diagram which was clear enough for me to read her notes, and a copy of the original data she used. The first of these was in a letter by Henry Woodbury suggesting that Nightingale got her calculations wrong and the radii represented the statistics rather than the area.7 The letter had a comment posted by Ian Short which led me to an article by him8 giving the data for the second diagram and explaining how it was created. The very clear reproduction of Nightingale’s second diagram in Woodbury’s letter7 shows that Miss Nightingale wrote beside it: â€Å"The areas of the blue, red and black wedges are each measured from the centre as the common vertex†. This makes it quite clear that the colours are overlapped and so solves my first problem. She also wrote â€Å"In October 1854 & April 1855 the black area coincides with the red†. She coloured the first of these in red and the second in black, but just commented on it beside the diagram to make it clear. The article by Short8 was a joy to read, although I could only work out the mathematical equations, which were written out in a way which is strange to me ( for example â€Å"$$ ext{Area of sector B} = frac{pi r_B^2}{3}=3$$†8 ) because I already knew what they were (The example had a sector B in a diagram which I could see had 1 2Ï€ 2 Ï€ 2 = = areaB rB rB ). The two things I found exciting from this article were the 2 3 3 table of data which Nightingale used to create the second diagram, and an explanation of what rates of mortality she used. She described these as follows; â€Å"The ratios of deaths and admissions to Force per 1000 per annum are calculated from the monthly ratios given in Dr. Smith’s Table B†4 and I had not been able to understand the meaning of this from the other articles. (Brasseur adds that â€Å"Dr. Smith was the late director-general of the army.†4). Using Short’s article I was able to work out what it meant. I will use an example of data taken from the table in Short’s article, which is in turn taken from â€Å"A contribution to the sanitary history of the British army during the late war with Russia† by Florence Nightingale of 18598. In February 1855 the average size of the army was 30919. Of these 2120 died of ‘zymotic diseases’, 42 died of ‘wounds & injuries’ and 361 died of ‘all other causes’. This gives a total of 2120 + 42 + 361 = deaths. 2523 2523 Mathematics SL and HL teacher support material 8 Example 6: Student work 2523 81.6003 men died per 1000 men in the army in Ãâ€"1000 = 30919 that month. If the size of the army had stayed at 30919, with no more men being shipped in or out, and the death rate had continued at 81.6 deaths per 1000 men per month over 12 months, the number of deaths per annum would have been 81.6003 Ãâ€"12 = 979.2 per 1000 men in the army. In other words 979.2 deaths per 1000 per annum. out of 30919 means that This understanding of the units used allowed me to finally understand why O’Connor says of the death rate in January 1855, â€Å"if this rate had continued, and troops had not been replaced frequently, then disease alone would have killed the entire British army in the Crimea.†5 The number of deaths due to disease in January 1855 was 2761 and the 2761 average size of the army was 32393. This gives a rate of 1022.8 Ãâ€"1000 Ãâ€"12 = 32393 deaths from disease per 1000 per annum. Another way of looking at it is that if 2761 had dies each month from disease, 2761Ãâ€"12 = 33132 would have died in 12 months, but there were only 32393 in the army! As an aside, I noticed that O’Connor quoted the mortality rate for January 1855 as â€Å"1,023 per 10,000 being from zymotic diseases†5. Another example that we should not trust everything we see in print. Having sorted this out I was ready to attempt my recreation of figure 1. I decided to do the right hand rose only, covering April 1854 to March 1855. The following table shows the data taken from Short’s article in blue and my calculations in black: Average Wounds size of Zymotic & Z/S*1000*12 Radius W/S*1000*12 Radius O/S*1000*12 Radius (Az) (Aw) (Ao) for army diseases injuries Other for for Month (S) (Z) (W) (O) (1 d.p.) Zymtotic (1 d.p.) Wounds (1 d.p.) Other Apr-54 8571 1 0 5 1.4 2.3 0.0 0.0 7.0 5.2 May-54 23333 12 0 9 6.2 4.9 0.0 0.0 4.6 4.2 Jun-54 28333 11 0 6 4.7 4.2 0.0 0.0 2.5 3.1 Jul-54 28722 359 0 23 150.0 23.9 0.0 0.0 9.6 6.1 Aug-54 30246 828 1 30 328.5 35.4 0.4 1.2 11.9 6.7 Sep-54 30290 788 81 70 312.2 34.5 32.1 11.1 27.7 10.3 Oct-54 30643 503 132 128 197.0 27.4 51.7 14.1 50.1 13.8 Nov-54 29736 844 287 106 340.6 36.1 115.8 21.0 42.8 12.8 Dec-54 32779 1725 114 131 631.5 49.1 41.7 12.6 48.0 13.5 Jan-55 32393 2761 83 324 1022.8 62.5 30.7 10.8 120.0 21.4 Feb-55 30919 2120 42 361 822.8 56.1 16.3 7.9 140.1 23.1 Mar-55 30107 1205 32 172 480.3 42.8 12.8 7.0 68.6 16.2 Az is the death rate per 1000 per annum from disease, Aw is the death rate per 1000 per annum from wounds and Ao is the death rate per 1000 per annum from other causes. For 2Ï€ Ï€ this diagram there are 12 divisions so each sector has an angle of = and an area of 12 6 12A 1Ï€ 2 Ï€ 2 . r = r . So for each radius r = Ï€ 26 12 Mathematics SL and HL teacher support material 9 Example 6: Student work I will show my final polar area diagram side by side with Nightingale’s original version: Figure 7. Nightingale’s original â€Å"Diagram of the causes of mortality in the army in the east† and my recreation. I have to admit that I felt rather proud once I had done this! However, looking at the September 1854 wedge I realised that the two diagrams didn’t correspond. In Nightingale’s original diagram I can see that there are more deaths from other causes than from wounds. In my version there are fewer deaths from other causes than from wounds. All other versions of the original in other articles I looked at ( Gill and Gill3, Brasseur4, O’Connor5, Woodbury7, Riddle10, Small11, Lienhard6) are as the original, but the table in Short definitely shows fewer deaths from other causes than from wounds8. Conclusion I started out to try to lean how to recreate the polar area diagram which Florence Nightingale made to communicate to other people just how bad the situation was in army hospitals. This diagram shouts a need for reform. Look at it. The blue represents deaths which could be avoided with a bit of organisation and care. The red represents deaths due to the actual battles. Florence Nightingale had copies of her report containing her diagrams published at her own expense and sent them to doctors, army officers, members of parliament and the Queen. Following her persistent lobbying a commission was set up to improve military barracks and hospitals, sanitary codes were established and procedures were put in place for more organised collection of medical statistics4. It is a very shocking picture with a huge snowball of social change behind it. It has been an exciting adventure to drill down to a real understanding of its construction. Mathematics SL and HL teacher support material 10 Example 6: Student work However, the biggest lesson I have learnt from this research is that you can’t trust what you read. As I have argued in the main text, I am moderately sure that Brasseur thought the colours of the second diagram did not overlap4, I think O’Connor got his death rates wrong for January 18555, and I think Short may have transcribed the data incorrectly for September 18548. According to Brasseur, Florence Nightingale cross checked her data and was systematic about addressing objections to her analysis4. Everyone can make mistakes, and errors can propagate if we just quote what someone else says without looking for corroboration. I have been left with a desire to find out more about this tenacious woman who wouldn’t let society mould her into a genteel wife. Also, if I ever get the chance, I would like to get a look at one of the 2000 copies of â€Å"Notes on Matters Affecting the Health, Effiency and Hospital Administration of the British Army. Founded Chiefly on th e Experience of the Late War† which Florence Nightingale had published in 1858, to see the actual table of data and check the numbers for September 1854. Mathematics SL and HL teacher support material 11 Example 6: Student work References/Bibliography 1.Duthie, Eric ed. The Children’s Book of Famous Lives.Odhams Press Ltd, London 1957 2. Du Garde Peach, L. Florence Nightingale. Wills & Hepworth Ltd, Loughborough, 1959 3. Gill, Christopher J. and Gill, Gillian C. Nightingale in Scutari: Her Legacy Reexamined Center for Internatinal Health, Boston University School of Public Health, Boston, Massachusetts, viewed 26th July 2009 4. Brasseur, Lee, Florence Nightingale’s Visual Rhetoric in the Rose Diagrams. Technical Communication Quarterly, 14(2), 161-182, Lawrence Erlbaum Associates, Inc, 2005, viewed 26th July 2009 5. O’Connor, J.J. and Robertson, E.F., Florence Nightingale. viewed 26 July 2009 6. Lienhard, John H., Nightingale’s Graph, The Engines of Our Ingenuity. 2002 viewed 26th July 2009 7. Woodbury, Henry, Nightingale’s Rose. American Physical SocietyLaunches Dynamic Diagrams Redesign of Physical Review Letters, January 9, 2008, 4:05 pm, filed under Information Design, Visual Explanation View ed 30 July 2009 8. Short, Ian, Mathematics of the Coxcombs. November 5th, 2008 viewed 30th July 2009 9. Lewi, Paul J. Florence Nightingale and Polar Area Diagrams, Speaking of Graphics. 2006 < www.datascope.be/sog/SOG-Chapter5.pdf> viewed 26th July 2009 10. Riddle, Larry, Polar-Area Diagram. 2006 , viewed 26th July 2009 11. Small, Hugh, Florence Nightingale’s statistical diagrams. Presentation to Research Conference organized by the Florence Nightingale Museum St. Thomas’s Hospital, 18th March 1998 viewed 26th July 2009 Mathematics SL and HL teacher support material

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Human Resources Management. Basic knowledge - Essay Example The process of globalization influences both public and private sectors of economy. It does not influence business under the conditions of competition produced by adding new participants to the market; this process promotes benchmarking as the best mean of developing business. For instance, the experts in UK are worried with the fact that specialists from the USA and the rest of Europe occupy leading positions in various companies or institutions of public sector. (Hunter et al.) These changes that affect competitive environment and working background forced human resource management reconsider its significance and roles, and adopt its functions to the demands of the present day. The process of reconsidering and revaluation of the HR role shows that the changes have already started, and this process slowly goes on. There are no investigations, reflecting the stages of the process, but the specialists speak about some significant points that indicate progressive nature of the process. In the middle of 90s HR professionals defined the process of changes that in the sphere of HR. Dave Ulrich is one of them. Some of his writings are devoted to this question and the nature of evolution that occurred in the sphere of HR during last fifteen years. He draws new roles in the sphere of HR. ... This function also includes watching relations among employees and establishing a new role to keep performance on high level - the role of employee champion. One more significant role is given to change agent, who should be occupied with the obstacles that may disturb successful business development and with the ways of keeping the business course on right direction. (Ulrich, 2005) In the article "Role Call" Ulrich provides a comparison of the roles in the process of changes, examining how the nature and purpose of each role changed within recent years. He enumerates the following roles that were relevant to the sphere of HR at the beginning of the 90s: "coach, enabler, advocate, change agent, initiative leader, employee champion, business partner, HR leader, strategist, rapid deployment specialist, internal consultant, operational supporter, knowledge facilitator, thought leader, competency professional, client relationship manager and even human capital steward and manager of firm infrastructure." (Ulrich, 2005) At first, he suggested changing the terms defining the specialists, as the essence of their work and functions changed. Employee champion - employee advocate and human capital developer As it has been said above, he provided a framework showing the changes that occurred within these roles. The first of them is shift from the role of employee champion to employee advocate and human capital developer. To say more precisely, this role divided into two separate roles. Here is the definition of "employee champion" provided by Ulrich in one of his previous works: "Employee champions listen and respond to employees and find the right balance between demands on employees and resources available

Response Paper (The American Revoltion in Indian Country Essay

Response Paper (The American Revoltion in Indian Country - Essay Example demonstrates how Native American were able to pursue different strategies as they went through difficult experiences but were able to uphold their legacy Colin Calloway writes that, "The Revolution marked an emphatic divergence between the Cherokees and their colonial neighbors as the warriors of both societies "took control of the path. This illustrate the lateness that was at hand because the Cherokee involvement in the revolutions was not a simple sign but it proved a powerful, durable and the same time usable image. The clamor kept on growing especially in the 19th century on how to remove the Cherokees from their only remaining lands, although there were the strong peace efforts emanating from the village headsmen way back before the war, during the war, combined role that was played by the Chota as well as the new societies which were built from the outcome ruins of the war were not listened to but ignored. All this was in the favor of what was termed as memory of Cherokee antagonism in the revolution. Therefore, the Cherokee had the responsibility again to begin afresh the practice of rebuilding their lives and homes past Miss issippi. When the fighting came to an end due to the revolution it was very difficult for the Cherokees because they were like orphans, they were without a place completely in the universe. Because of the repercussion of the war, their population was affected drastically which led to serious drop of about 10,000 in number only and at the same time lost their homelands which was estimated to be around three-quarters as well as hunting grounds and towns were destroyed. The revolutions grouped lower towns to be Chickamauga while those who remained neutral kept on dividing the Cherokee. Their cultural framework was affected so much which disrupted the harmony which existed amongst the Cherokee wellbeing in relation to their spiritual world. This caused a lot of disorder everywhere. Thousands of Cherokees were forced under prevailing

Analysis of the Star Wars Films

Analysis of the Star Wars Films A change in the force When I think of the term A Heros Journey the first image that comes to mind is Luke Skywalker standing proudly holding an outstretched lightsaber pointing to the stars with Princess Leia kneeling at his feet clutching a blaster as depicted on the cover of the 1978 movie Star wars IV: a New Hope. Like millions of other children, this film was, unknowingly, my first introduction into the idea of heroic archetypes. It was a story of a heros awakening and the struggle between the forces of light and dark, with glorious space battles, cocky space pirates and a pretty princess. I would watch the VHS tape multiple times a day. It had a very profound impact on my young mind and although the concept was used many times before, its sci-fi themed setting was more than enough to attract the attention millions of other kids and adults alike. It is well documented that George Lucas was heavily inspired by joseph Campbell (1904-1987) and his work, The Hero with a Thousand Faces (1949). In this Campbell outlines what he calls the heros journey; this is a motif of adventure and personal transformation that is used in nearly every cultures mythical framework. This is mirrored in A New Hope where in act one of the heros journey we meet Luke Skywalker who lives on the desert planet of Tatooine and works on his uncles moisture farm. It is soon after we learn of Lukes dreams of becoming a pilot but is bound by his obligations to his uncle to help with the harvest which will be ripe soon. When he receives the message contained within the R2-D2 droid from a princess in obvious distress it serves as his call to adventure and inspires his first steps on his journey which will lead him to Obi Wan Kenobi, his future mentor. Luke initially denies the call only changing his mind when his family and home are destroyed, only then accepting the first stage of his journey which is to rescue the princess. The second act is generally when the hero meets allies, enemies, undergoes life and death conflict and completes the main task in his journey. This can be seen when Luke and Ben enlist the services of rogues Han and Chewbacca and experience their first confrontation with the evil empire. As Luke escapes Tatooine in search of the princess on the planet Alderaan it is truly the beginning of his journey as he ventures into space on his quest. Luke receives training from Obi Wan and bonds with Han during this time and eventually meets the princess by the end of act two. Luke is also portraying similar characteristics of the epic hero during this time, starting in his humble beginnings as a farm boy to completing a task meant only for him and displaying many ideals of the epic hero such as morals, strength, faith, intelligence and bravery. While all these characteristics are vital to fulfil the epic hero role, it is faith that Luke must find in the force before he can truly achieve his heroic status. When Luke and the crew of the Millennium Falcon are captured by the death star, the audience is unsure if they will succeed in escaping and weather they rescue the princess along the way. Of course our hero finds the princess and achieves the goal while nearly being killed along the way. Luke escapes the death star and his task is achieved. Over the course of the second act Luke begins to displayÂÂ   the qualities of an epic hero, Luke is seen as morally positive intelligent man, optimistic about his mission and displays strength and bravery in a number of ways. His faith in the mystical force also develops as he preservers to continue forward after the death of his mentor Obi Wan. In the third act Luke displays what he has learnt over the course of his journey. It is only then that the hero can gain the true reward -in Lukes case this is knowledge. Lukes final task is to aid in the destruction of the Death Star and will only return if his mission is a success otherwise he will be killed and his journey will be over. During the final assault Luke displays growth as a hero, his belief in the force and his alliance with friend Han Solo further shows his hero status. Luke uses his new knowledge gained from his journey and the force to destroy the Death Star and save the rebel alliance from total destruction. It is at this point Luke Journey comes to an end for a New Hope but is continued by Lucas over the course the trilogy, this even continues into the latest instalment, The Force Awakens released in 2015. Although I have focused on Lukes role up until this point is also important to note the other archetypes present in The Star Wars movies.Firstly is Han Solo who is possibly the most beloved character in the original trilogy. This is mostly because of his bad boy image and that he is a cynical anti-hero figure and a bit of a cowboy who relies mostly on courage and the use of his blaster to escape tight situations. He is an independent and strong character as his name SOLO would suggest. In the first film Han can be seen as a shape shifter, perceived by the main character as someone he is unsure of trusting. Hanss intentions are hidden as well as his loyalties as he doesnt want to care about the rebellion or their struggle against the empire. He only wants to care for himself and problems directly affecting him. In the final moments of the battle at the end of Episode IV Han comes to Lukes aid and ends up joining the struggle with the rebels. Hanss journey is more about learning to car e for others rather than just about himself, this journey continues throughout the second and third films as Han the proven warrior now learns to love. Han is accompanied through the trilogy by his trusty companion Chewbacca. It is common for a hero to befriend a beast along the way as this helps the hero to be reminded of the natural world. Lukes main companions include the droids C3PO and R2-D2. They mostly serve comic relief and the everyman archetype. They react to situations much like the audience would if they were thrown into the action. They cower and flee from danger but are also the heralds who issue challenges to the hero as well as announce the coming of change in the heros future. R2-D2 also serves as the Catalyst of the story. He is passionate and helpful, and is completely dedicated to the cause, he delivered the first call to arms to Luke and eventually accompanying him to his next stage of training with the last remaining Jedi master Yoda. Yoda, similar to Obi Wan before him is the old man mentor archetype, although he also embodies multiple archetypes also. When Yoda first meets Luke in the swamps of Dagobah, he is the trickster who is pretending to be a senile old creature, later it is revealed that he is a threshold guardian who is protecting the wisdom and secrets of the Jedi order until the hero proves himself worthy of such gifts. These secrets also contain the truth about Lukes family and the eventual downfall of his father, Anakin Skywalker. Yoda is also represents the oracle that possesses the ability to see beyond the present to future possibilities. Lukes father Anakin Skywalker experiences a true Visionaries arc throughout the series. From a simple slave on Tatooine to becoming one of the last Jedi knights, he remained committed to the order until a vision of his dying mother and death of his beloved wife lead him to the dark side only to be reborn as the tyrannical Darth Vader. Vader is committed to the vision of the empire and remains its most staunch supporter until the undeniable force of change returns him to the light side of the force. This happens as a result of this long lost son Luke who he sacrifices himself to save from the emperor and herald in a new era in the process, which would be led by his children Luke and Leia. Princess Leia represents the feminine in the otherwise male dominated Star Wars universe. In the original trilogy she is firstly depicted as a damsel in distress who is captured by the empire and has to be rescued by the heros. She then reveals herself to be a warrior as she fights to escape the Death Star. Later in the series she takes on a leadership role in the rebel alliance and also a romantic role with Han Solo. In the final film of the original trilogy she is revealed to be the twin sister of Luke Skywalker, thus becoming a female counterpart to Luke with the same strength and potential he has. Leia and her mother Padme are also good examples of what may be perceived as gender bias in the original and prequel trilogies. Aside from these characters the Star Wars universe is practically devoid of female characters. Similar to the society we live in, the Star Wars universe is predominantly patriarchal with characters such as Luke Skywalker and Obi Wan Kenobi garnering more attention with the female characters usually taking a back seat to the action when they are around. Characters such as Luke and Obi Wan show qualities such as loyalty, integrity and bravery in the face of overwhelming odds, while the females are mostly submissive with very few opportunities to be heroic themselves. While the male characters mostly fill the role of the archetypal male hero that the audience is used to seeing, they do have some differences. Han Solo for example is good looking, adventurous with a bad boy attitude while at the same time being irresistible to the opposite sex. Luke Skywalker is also adventurous but is different in that by the end of the original trilogy does not win the girl and forgoes the stereotype of ladies man in favour of the serious hero with a solemn nature similar to the samurai found in the Kurosawa films that originally inspired Lucas. The Jedi from the prequels follow much the same archetypes, female Jedi are present in these movies but are mostly relegated to the background in scenes with no input of value coming from them during the course of the movies. Female villains are also noticeably missing from the films and females in general and are nowhere to be found in the ranks of the Galactic Empire, with the addition to the noticeable lack of alien creatures as well. Although, this may have been a product of the times of the original films production as women in general would not be viewed as legitimate villains. Regardless of the real reasons for this the Star Wars universe is practically devoid of female heroes and villains alike. also worth noting is that the female characters do little to further the cause of the heros and will often get in the way, requiring the heros take time to rescue them. Leia may be an exception to this; she is the most influential female character by far in the Star Wars universe and after the release of Episode IV in 1977 lead to a noticeable uprising in strong female leads in film. Two years later we would see possibly the most heroic female character ever, Ellen Ripley appears in the hit horror movie Alien. With Linda Hamiltons Sarah Connor furthering the cause in 1984s The Terminator a few years later. How much influence Princess Leia had over these characters is easy to see. Leia is headstrong and cocky and when we are first introduced to her she is perceived by the audience as an authority figure being no way over sexualized. Even in the face of her captures she is fearless which is uncharacteristic of the damsel in distress idea. Episode IV is basically a story about a princess who needs to be rescued from the villains stronghold. Women are seen to be on a lower threshold than men and require rescuing as they cannot do so themselves, interestingly, as soon as the male heroes rescue Leia, she takes control of the situation telling the heroes what to do, even rescuing them in the process. At one point she even takes the weapon from Luke to open up a pathway to escape. When they finally escape the Death Star, Leia is also the only one to realise that their escape may have been too easy with the real reason being that they would be used to track the location of the rebel bases. As part of the Rebellion, Leia is also regarded as an authority figure. She orders the all-male rebel pilots around throughout the original trilogy. She is seen as an important and influential strong female protagonist.ÂÂ   Gwendolyn Glover, a noted feminist blogger writes, I know that for many, Princess Leia is a sex symbol. The unattainable and perfect woman. For me, Princess Leia is my feminist icon. She was my first (and pretty much only) female role model for feminism. In a male dominated universe, she stood out as a force to be reckoned with. Tough, smart, and outspoken, she typified everything that I wanted to be,(Glover, 2009). Leias role in Episode IV does a lot for female protagonists in the film industry. With the release of Episode V: The Empire Strikes Back in 1980 Leias character conforms more to the traditional female character roles seen up until then in film. Her romance with Han Solo is a stark contrast to her disinterest in the male leads in the first film and she quickly becomes useless for the majority of the film. In the first 15 minutes of Episode V Han is required to rescue her from the crumbling ruins of the rebel base on Hoth while she displays fear of rodents and requires a male to kill them for her. Which all seems out of place for such an independent character who, in the previous film required none of this attention from her male counterparts and spends the majority of this film falling in love with one of them. One scene in particular stands out in Episode V: The Empire Strikes Back. When Leia is confronted by Han, she is backed into a corner and asked about her true feelings, the male character takes her hands preventing her escape. The scene ends as she succumbs to her feelings and passionately kisses her capture. This scene can easily be construed as disturbing as it may teach men that borderline violent behaviour or intimidation is a viable way to a womans heart. This trend continues in Episode VI: Return of the Jedi when after rescuing Han from Jabba the Hutt, Leia is herself captured and forced to wear a gold bikini and lie at the foot of Jabbas bed with a collar around her neck, waiting to be rescued by a man. in this we see leias change from the first film where she is dresses from head to toe in white to the final film where we see her practically naked creating one of the most iconic images of male fantasy ever to be seen on the big screen. After she is rescued by Luke she succeeds in killing Jabba (who resembles a giant phallus) with the chain that was previously used to hold her. Towards the end of the film, Leia redeems herself by saving Hans life by shooting attacking Stormtroopers in the films final battle. Thus, although Leia conforms to the traditional gender roles, she does project some positive traits throughout the course of the original trilogy. With the release Star Wars: Episode VII The Force Awakens in 2015, popular culture was still lacking adequate female representation and role models. When a woman was cast as the lead character in the latest instalment of the Star Wars Saga it was a regarded as a big deal. Rey, played by Daisy Ridley was both a protagonist and a hero, she has no romantic interests, wears combat outfits and fights villains just like Anakin and Luke in the trilogies before her . Starting out as a scavenger on Jakku she combines some of the best traits of Luke Skywalker, Leia Organa and Han Solo and is both a relatable and believable female lead which is rare to see in films even today. This leads to breaking the stereotype which is present in the earlier films and reinforces the gender balance. Young girls growing up with these new films will have a role model to look up to, while boys will see Rey as a hero regardless of gender. Rey, and her companion Finn mirror well-known initiation myths from mythology: While Finn draws from various Biblical folktales and Celtic myths, Reys story is a updated version of one of the oldest myths, The Epic of Gilgamesh, while adding a feminist interpretation (Glen Robert Gill, 2016). Reys struggle with the main villain Kylo Ren, who is later revealed to be the son of Han Solo and Leia Organa, resembles mythic themes of relations and rivalries between siblings. Although Reys lineage is kept secret from the viewer, the idea that she is a Skywalker would make perfect archetypal sense. When we are introduced to Rey we quickly realise she will follow much of the same traits as J.J. Abrams previous leading female characters such as Jennifer Garner of Alias and Anna Torv of Fringe. Rey is a solitary hero who resides in the desert. Her name evokes ideas of light or solar heroism (Ray) and royalty with Rey meaning King in Spanish. Rey however starts at the bottom of the social hierarchy unlike Gilgamesh. While stranded on the planet Jakku we see her scavenging parts from crashed Imperial ships as a means to survive which may be a forecasting of her future as a rebel. Rey is an inverted feminist version of Gilgamesh that will have to be trained and moulded with the martial tradition of the Jedi order to become a Jedi and possibly even becoming immortal during the course of the new films. Rey is also an orphan similar to Finn that reminds us of many female examples such as Daenerys Targaryen from Game Of Thrones, Jane Eyre or even Annie.ÂÂ   This can have special feminine implications as the search for her family is not just about parental affirmation but also about overcoming social vulnerabilities and inequities. Similar to the first meeting between Gilgamesh and his companion Enkidu, the first time Rey and Finn meet they begin fighting and arguing with each other, only to later find a common purpose. Just as Rey is an inverted feminist Gilgamesh, Finn is an inverted version of Enkidu, Enkidu can be seen as a representation of the natural or uncivilized side of humanity. As Finn is spurred to escape the soulless structure of the First Order to the natural environment of the Resistance by the cold toughness of Captain Phasma, who is the negative projection of the maidenly anima. Phasmas chrome covered armor projects the mythological idea of the mirror, as this symbolizes self-contemplation and self-examination. As Finn and Rey grow closer as friends, we see in them less as deserters (Finn deserted the First Order, Rey was deserted on the desert planet by her family) but an updated version of the archetypal friendship between Gilgamesh and Enkidu. The friendship that develops between Rey and Finn during The Force Awakens reminds us that friendships born in the midst of battle do not need to be exclusively masculine, and do not have to be endorsed or convoluted by a romantic element. When Rey and Finn escape the planet Jakku they are introduced to Han Solo and Chewbacca, the original trilogys version of the same archetypal characters. Han Solos return also brings with it the Jungs archetypal figure the wise old man. Just like Obi-Wan Kenobis role to Luke in A New Hope, Han becomes a mentor figure to our main characters. Han also affirms the existence of the Force to Rey in the exact same location on board the Millennium Falcon as Obi-Wan Kenobi tutored Luke. Soon after our four heroes meet they must work together to escape gangsters who are attempting to capture Solo, the archetypal significance of this is found in the pursuing groups destruction by the hideous rathtars that escape their cages during the course of the action, these snake-tentacled creatures are reminiscent of the mythical Medusa that is itself a demonic incarnation of the yonic symbol that Freud called the vagina dentata(Leah12. 2012) In relation to Reys journey, this can be seen as a parallel of Gilgameshs battle with the monstrous Humbaba. In a archetypal sense monsters are generally projections of the negative self or extensions of the viewers self-image, it is also worth noting that while Gilgamesh decapitates his monster in an egoistic search for prestige, Rey only dismembers her monster to aid her companion, Finn. It is also notable that during Reys martial induction, she generally only uses her developing abilities for defence and enemy persuasion just as the Jedi code demands, and only time she is openly aggressive is when Finn is cut down during his battle with Kylo Ren in the films climax. Rey is basically the 21st century version of Luke Skywalker, a young 20 something character who is possibly the last hope for the Jedi order. Early in the film when Rey first meets Finn and they are fleeing from pursuing Stormtroopers, Finn repeatedly reaches for Reys hand to aid in her escape. Rey snaps at him I know how to run without you holding my hand. She also outmatches the main villain Kylo Ren both mentally and physically during the course of the film. One of the more notable scenes involves Han Solo recognising that Rey is somebody who can handle herself, in one scene in particular he offers to show Rey how to use a blaster to which she replies I think I can handle myself, his agreement reminds the viewer of how Leia saved his life at the end of Episode VI. He then continues to approve of her proficiency without coming across a patronising, even offering her a job alongside him and letting her fly his beloved Millennium Falcon. Rey is also an example of the young, maidenly aspects of Jungs term anima, which describes the archetypal feminine. Like much of Abrams previous work it shows an understanding that the anima does not need to be a companion or object of the masculine self which presumes the perspective of the audience, instead being a representation of that perspective. It has also been claimed that Reys character is whats described as a Mary Sue type anima archetype (Zulai Serrano, 2015), which claims the character can do no wrong, making her a character too unrealistic for some viewers. The rich feminine dimension of The Force Awakens makes itself very apparent with the first appearance of the droid BB-8, who serves as Reys heroic token just as R2-D2 served as Lukes. The figure eight body shape of BB-8 resembles that of theNeolithic Venus, which contrasts against the small phallic structure of R2-D2. BB-8 is what is called ayonic symbol, this is the archetypal image of female embodiment (the chassis of BB-8 houses the reward of the quest which is the map to finding the missing Luke Skywalker, this can also be seen as a sort of rebirth for the character in the process). As stated earlier, the original trilogy had only one main female character and although the Prequels had more female characters their representation was even worse, even going as far as to have Padme (Leias mother) dying of a broken heart in Episode VI. The new film takes steps to address this by having several women in key roles. General Leia is the leader of the resistance and has been allowed to age gracefully on screen, she is seen as the role of leader while still being a mother figure throughout. Over the course of the films Leia has moved from a Princess to a General and from a lover to a leader of the Resistance. Leia also functions independently without either Luke or Han which is very different than the last time we seen her in Return of the Jedi. Leia also conforms to the mature pole of the anima archetype, named by Jung as theGreat Mother. This marks a major archetypal change for Leia from the original trilogies, where she often functioned as the pure aspect of the anima, a role now taken by Rey. Leia still remains a positive representation of the anima as she continues to oppose the negative aspects of the anima, which Jung calls theTerrible Mother. This figure is not represented by one character in particular but by a vast destructive power such as the Death Stars of A New Hope and The Return of the Jedi, and its most recent incarnation Starkiller base in The Force Awakens. Where the Great Mother supports and upholds, similar to what Leia does, the Terrible Mother consumes all, as shown in the Death Stars ability to destroy planets from afar. We are also introduced to the character of Maz Kanata an old, wise mother figure who has been referred to as a female Yoda. It is Maz who gives Rey Luke Skywalkers lightsaber and Awakens the force in her. The fact that this character has been given Yodas role is very noticeable and can be seen as a major step in the gender balance issue. To a lesser extent Captain Phasma as a woman under the Stormtrooper suit is completely new to the Star Wars universe. It is also the first time we see female pilots at the controls of the X- wings during the final assault on Starkiller base which was unheard of before the release of the film. The Force Awakens is a game changer in many respects. It honors and updates the themes and tropes fans expect to find in the Star Wars universe by reiterating and reinterpreting compelling characters and symbology from known mythology. While still retaining its traditional values and fearlessly putting a female character such as Rey as the main protagonist and keeps a healthy mix of old and new characters that continue to transcend their archetype roles. The The Force Awakens can also be seen as more of a reboot than a sequel that builds on the best elements from the previous films and what it promises in the future.Whether the story of the Skywalker family continues throughout the course of the new trilogy is still to be determined but with the inclusion of Rey as the hero a new generation of fans (Male or Female) will look up to promises to bring us in new, fascinating directions. References Andrew Yang. (2015). The Archetypes Of Star Wars . Available: https://www.archetypes.com/the-archetypes-of-star-wars/. Last accessed 04th Jan 2017. Glen Robert Gill. (2016). Star Wars: The Force Awakens: An Archetypal Review. Available: http://brightlightsfilm.com/star-wars-the-force-awakens-archetype-gilgamesh-joseph-campbell-hero-mythic-myth-deepens/#. Last accessed 13th Jan 2017. Gwendolyn Glover. (2011). Women Role Models. Available: http://anna-reinertson.livejournal.com/. Last accessed 04th Jan 2017. John Paul Pianka. (2013). THE POWER OF THE FORCE: RACE, GENDER, AND COLONIALISM IN THE STAR WARS UNIVERSE. Available: http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1040context=etd_mas_theses. Last accessed 14th Jan 2017. Kristen Brennan. (2013). Star Wars Origins. Available: http://www.moongadget.com/origins/myth.html. Last accessed 7th Jan 2017. Laura Hudson. (2013). Leia Is Not Enough: Star Wars and the Woman Problem in Hollywood. Available: https://www.wired.com/2013/02/opinion-star-wars-females-media/. Last accessed 04th Jan 2017. Leah12. (2012). The Monstrous Feminine. Available: http://monstrous-fem.blogspot.ie/. Last accessed 11th Feb 2017. Lucas Seastrom. (2015). Mythic Discovery Within the Inner Reaches of Outer Space: Joseph Campbell Meets George Lucas Part I. Available: http://www.starwars.com/news/mythic-discovery-within-the-inner-reaches-of-outer-space-joseph-campbell-meets-george-lucas-part-i. Last accessed 8th Feb 2017. Samuel James. (2015). How does Star Wars: The Force Awakens represent women ?. Available: http://screenprism.com/insights/article/what-does-star-wars-the-force-awakens-tell-us-about-its-representation. Last accessed 04th Jan 2017. WD TR. (2016). Star Wars : The Heroines Journey Of rey. Available: http://www.starwarsintheclassroom.com/content/hj/rey_hj.asp. Last accessed 16th Jan 2017. Zulai Serrano. (2015). Star Wars: The Force Awakens: Is Rey A Mary Sue? Twitter Sparks Fanboy Debate. Available: http://www.idigitaltimes.com/star-wars-force-awakens-rey-mary-sue-twitter-sparks-fanboy-debate-499248. Last accessed 20th Feb 2017.