Wednesday, January 29, 2020

Philosophy of Healthcare Essay Example for Free

Philosophy of Healthcare Essay This paper analyzes seven view points on the topic of Philosophy of Healthcare. The seven view points are blended into this paper by discussing what factors highly influenced my decision to choose healthcare as my set profession in life. Also discussing the Nature of Mankind, stating a few qualities that are highly important in our society and give examples of how it is used in our everyday life. This paper will further discuss the Brokenness of Mankind and what I believe are my most important qualities that I will be able to bring into the medical field. Discuss different ways how handle conflict and stress that can someday lead to â€Å"burnout† in healthcare. Along the topic of talking about the Brokenness of Mankind, I will debate if there is a difference between healing and curing. Last, I will altercate the Value of Mankind and in what ways this could be appropriate for faith to play a part in giving care in healthcare. Keywords: none. Philosophy of Healthcare Final Project Seven Points of Philosophy of Healthcare Back when I was a young child in elementary school, my first grade teacher asked me and all my other classmates, â€Å"What do you want to be when you grow up?! One girl said a private eye investigator; a boy who played on the peewee football team for our city said he wanted to be the quarterback of any NFL team. When it was finally my turn to say what I wish to do for the rest of my life, I said I wanted to be a professional ice skater! I came to realize six years later that that was never going to be my reality and I had to think about what really would interest me. One good quality everyone said I obtained was caring for others and how I always am the first to aid someone in need. I spent most of my time in the hospital visiting my grandmother and I always thought it was amazing to see the doctors rush to a patient or watch the nurses do their rounds. I told my mother I wanted to work in the hospital as a volunteer and she said I should so I did and I fell even more in love. Seeing all of the things going on in the hospital influenced me to really pursue this profession. What also influenced me was seeing how my pediatrician cared for other kids and was always taking good care of not only myself, but others as well. In this profession people need to possess very important virtues. Some of my personal virtues are dedication, caring, and also integrity. I believe that being dedicated is a cogent virtue to have in general, but specifically as a healthcare professional. While working in the medical field you have to give time and effort to your patients and show them that you care as well. Caring would have to be another virtue that I portray and that is also very good to have. For example, if you have a patient that has been there for a long period of time, you have to show them that you care and put yourself in their position. Philosophy of Healthcare Final Project You have to show that you care, because if you don’t things will only be negative and later on will become complicated and stressful. Integrity is a very strong virtue that anyone can have because it shows that you can be trusted and that you are a very honest person. Nowadays, they have a system called HIPAA, which is used in hospitals nationwide. HIPAA is used for patient confidentiality and is an agreement that you will not discuss why a patient in there in the hospital and what is wrong with them with anyone else. This is why I believe everyone needs to have integrity. Discussion There is a plethora of ways that my top three virtues could be demonstrated. To start off, we will talk about dedication. Dedication can be shown in the medical field by setting aside time to get certain tasks done by a specific time or day. For example, if a nurse has to clean up after a patient, they have to set aside time to aid them and also be dedicated to doing it, along with that, they have to care for the patient while doing this specific task. Caring is another one of my top virtues. Caring is shown in many ways in this specific field. For example, caring for a patient while they are in the hospitality suite is extremely nice. When I did my volunteer service back in Orlando Regional Medical Center, I spent most of my time in the hospitality suite making sure every patient waiting to return home was doing okay and assisting them get into their cars and giving them anything while they waited patiently to leave. Also, integrity is highly demonstrated in healthcare. As I have stated earlier in this paper, HIPAA is a very good example of how integrity can be shown in healthcare. Philosophy of Healthcare In addition, what I believe would be my important qualities that I can bring to healthcare as a professional would have to be my ability to be loyal and true to everyone including my co-workers, the patients, and of course myself. To me, loyalty and being trustworthy are the biggest qualities that anyone can pertain in life because without it, no one can depend on you to accomplish things or to confine things either. Today in the field of healthcare, there are many cases that are conflicting and stressful. Many people try to climb their way out of this by doing numerous of strategies to get themselves out. The best thing to do is to focus on the positive and try to think of ways to make things better. Do not try to blame others for wrong doings and try not to say the first things that comes to mind in a bad situation because that only makes things worse. â€Å"In the hospital or any medical setting, you will be faced with problems and challenges almost every day. † (www. zinearticles. com). Also, building a strong communication with your colleagues can become a great advantage and can cause less burnout in the field. â€Å"Another important way to combat stress is to sharpen ones communication skills. † (www. fdu. edu). everything nowadays is communicated via e-mail, pager, text, or even social networks to try and get into contact with one another. If you have to talk to someone about a problem, simply approach them and talk face to face and not try to chase down a text or e-mail to have proof of something you said. Discussion Many people say that there is an antithesis between healing and curing. In my opinion I believe that they are both different. â€Å"Healing is a natural process and is within the power of everyone. Curing, which is what doctors are called upon to do, usually consists of an Philosophy of Healthcare Final Project external treatment; medication or surgery is used to mask or eliminate symptoms. † (www. beliefnet. com). Healing is done by our Lord and Savior, Jesus Christ. It takes time for this to happen and it takes a lot of faith to make it possible. On the otherhand, you can show up to a physician’s office or the hospital and say â€Å"Take the pain away! † and it will be gone within the hour thanks to technology today. With healing, you need to have a very positive mind set and pray to our Father in heaven to cure us with his tender loving care, instead of depending on society to cure us. â€Å"The first step is having the intention to heal, to come back into balance. † (www. stepsonthepath. com).

Tuesday, January 21, 2020

The Collector :: essays research papers

Macbeth Essay   Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"False face must hide what the false heart doth know.† (I, vii, 82) The quote above signifies him being pushed and pushed into things that were intended for him to accomplish, although these actions creates a world of death and revenge. Macbeth was a victim of his own ambition. In Macbeth tragedy strikes upon Macbeth and causes him to lose his own life in order to live another. Macbeth is not a sympathetic character in that man can control his own destiny and that being pushed into some decision can cost either their life or someone else’s.   Ã‚  Ã‚  Ã‚  Ã‚  In the play Macbeth one does not feel sympathetic for Macbeth. He controls his own destiny and lives a life of one man, himself. Rather accepting what he has, Macbeth gets greedy and wants it all. One can not feel sympathetic if the best way to get something is to kill that person or to kill the family of that person. He does change though at the end of the play. One can feel sympathetic for him at the end, when knowing that all hope has come to an end, he fights for something else than himself. He fights till the death but loses at the end. Also one can feel for him because of many nagging things going on in his head, including his wife and the three witches. Knowing the thought that he can become king, Lady Macbeth influences Macbeth to many things that soon cause a great deal of pain and suffering. â€Å"If you can look into the seeds of time and say which grain will grow and which will not, speak then to me.† (I, iii, 59-60) The quote is from Banquo who states if the witches can look into the future then tell him of what happens in the next coming. Macbeth has some control over his own destiny. He soon learns that from the witches foretelling him of his future. He learns that not only will he become Thane of Cawdor but also King. His â€Å"destiny† is soon thrown into the hands of Lady Macbeth, who in many people’s eyes believes she is the controller of Macbeth. Macbeth’s own actions show that he can control his own destiny. He could have never killed King Duncan, but pressure from his wife and the future telling him that he will be King seduces Macbeth into wanting more than what he has.

Monday, January 13, 2020

Famous Elizabethans and Their Era Essay

The first about who we will talk is Edmund Spenser (1522-1599), who was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor Dynasty and Elizabeth I. he is recognized as one of the premier craftsmen of Modern English verse in its infancy, and one of the greatest poets in the English language. The first verses ever published by Spenser were six sonnets translated from Petrarch. Then followed The Shepherds Calendar, whose subject was suggested to him by Sydney. In writing it, Spenser used foreign models derived from Greek poetry, Latin, French, and Italian literature. The verses are still very conventional and show obvious signs of immaturity, the content is mythological-scholarly, though there are many beautiful descriptions of English rural scenery. The melody is often interrupted; however, it inaugurates a new era in English poetry. This new era is superbly by The Faerie Queene. The models which Spenser used when he embarked upon the difficult task of composing this poem, the most important and popular of all that he ever wrote, were Ariosto’s Orlando furioso and Tasso’s Gerusalemme Liberato. Conceived in the midst of the uncanny beauties of the Irish landscape, The Faerie Queene is far from indifferent to them, finding in them an important source of inspiration for his natural background; as important as medieval English and Celtic poetry were for the narrative. The chief task Spenser set himself was to amalgamate all these poetical elements and, by deepening the moral content of court poetry and by fertilizing it with the new humanistic ideas, to write an impressive national epic. Few poems more clearly illustrate the variety of influences from which most great literary works result. In many respects the most direct source was the body of Italian romances of chivalry, especially the ‘Orlando Furioso’ of Ariosto, which was written in the early part of the sixteenth century. These romances, in turn, combine the personages of the medieval French epics of Charlemagne with something of the spirit of Arthurian romance and with a Renaissance atmosphere of magic and of rich fantastic beauty. Spenser borrows and absorbs all these things and moreover he imitates Ariosto closely, often merely translating whole passages from his work. But this use of the Italian romances, further, carries with it a large employment of characters, incidents, and imagery from classical mythology and literature, among other things the elaborated similes of the classical epics. Spenser himself is directly influenced, also, by the medieval romances. Most important of all, all these elements are shaped to the purpose of the poem by Spenser’s high moral aim, which in turn springs largely from his Platonic idealism. To the beauty of Spenser’s imagination, ideal and sensuous, corresponds his magnificent command of rhythm and of sound. As a verbal melodist, especially a melodist of sweetness and of stately grace, and as a harmonist of prolonged and complex cadences, he is unsurpassable. But he has full command of his rhythm according to the subject, and can range from the most delicate suggestion of airy beauty to the roar of the tempest or the strident energy of battle. In vocabulary and phraseology his fluency appears inexhaustible. Here, as in ‘The Shepherd’s Calendar,’ he deliberately introduces, especially from Chaucer, obsolete words and forms, such as the inflectional ending in -en which distinctly contribute to his romantic effect. His constant use of alliteration is very skilful; the frequency of the alliteration on w is conspicuous but apparently accidental. For the external medium of all this beauty Spenser, modifying the ottava rima of Ariosto (a stanza which rimes abababcc), invented the stanza which bears his own name and which is the only artificial stanza of English origin that has ever passed into currency. The rime-scheme is ababbcbcc and in the last line the iambic pentameter gives place to an Alexandrine (an iambic hexameter). Whether or not any stanza form is as well adapted as blank verse or the rimed couplet for prolonged narrative is an interesting question, but there can be no doubt that Spenser’s stanza, firmly unified, in spite of its length, by its central couplet and by the finality of the last line, is a discovery of genius, and that the Alexandrine, ‘forever feeling for the next stanza,’ does much to bind the stanzas together. It has been adopted in no small number of the greatest subsequent English poems, including such various ones as Burns’ ‘Cotter’s Saturday Night,’ Byron’s ‘Childe Harold,’ Keats’ ‘Eve of St. Agnes,’ and Shelley’s ‘Adonais. ‘ In general style and spirit, it should be added, Spenser has been one of the most powerful influences on all succeeding English romantic poetry. Two further sentences of Lowell well summarize his whole general achievement: ‘His great merit is in the ideal treatment with which he glorified common things and gilded them with a ray of enthusiasm. He is a standing protest against the tyranny of the Commonplace, and sows the seeds of a noble discontent with prosaic views of life and the dull uses to which it may be put. The next famous Elizabethan that should be mentioned and about whom we will make a few references concerning his life, his work and his innovations in literature is Christopher Marlowe (1564-1593), who was an English dramatist, poet and translator of the Elizabethan era. As the foremost Elizabethan tragedian, he is known for his blank verse, his overreaching protagonist, and h is mysterious death. Marlowe’s reputation as a dramatist rests on five plays – Tamburlaine, Doctor Faustus, The Jew of Malta, Edward II, and Dido, Queen of Cartage. To these five masterpieces might be added The Massacre of Paris, a bloody-thirsty melodrama now, it seems, little read. In this handful of plays appears the first true voice of the Renaissance, of the period of a new learning, new freedom, new enterprise, of the period of worship of Man rather than God. Marlowe sums up the new age. The old restrictions of the Church and the limitation on knowledge have been destroyed; the world is opening up and the ships are sailing to new lands; wealth is being amassed; the great national aggressors are rising. But, above all, it is the spirit of human freedom, of limitless human power and enterprise that Marlowe’s plays convey. Tamburlaine is the great conqueror, the embodiment of tyrannical power; Barabas, the Jew of Malta, stands for monetary power; Faustus represents the most deadly hunger of all, for the power which supreme knowledge can give. Each one of Christopher Marlowe’s plays is, in a sense, a tour de force, a special creation. The Jew of Malta, Dido, and The Massacre of Paris, though abounding in passages of strength yet do not fulfill the requirements the author himself had set up. The Jew, however, was very popular, being performed thirty-six times in four years, which in those days was an unusual record. Marlowe’s first and most important service to drama was the improvement of blank verse. Greene had condemned its use as being unscholarly; Sackville and Norton had used it, but were not able to lift it above commonplace. In their work, it usually consisted of isolated lines, one following another, with no grouping according to thought. All the verses were made after one rhythmical pattern, with the same number of feet and the caesura always in place. Marlowe invented numberless variations while still keeping the satisfying rhythm within a recurring pattern. Sometimes he left a redundant syllable, or left the line one syllable short, or moved the position of the caesura. He grouped his lines according to the thought and adapted his various rhythms to the ideas. Thus blank verse became a living organism, plastic, brilliant, and finished. Marlowe’s second best gift to drama was his conception of the heroic tragedy built on a grand scale, with the three-fold unity of character, impression, and interest, instead of the artificial unities of time and place. Before his time tragedies were built either according to the loose style of the chronicle, or within the mechanical framework of the Seneca model; but in either case the dramatic unity attained by the Greeks was lacking. Marlowe and Shakespeare, with their disregard of the so-called classic rules, were in fact much nearer the spirit of Aeschylus and Sophocles than the slavish followers of the pseudo-classic schools. Marlowe painted gigantic ambitions, desires for impossible things, longings for a beauty beyond earthly conception, and sovereigns destroyed by the very powers which had raised them to their thrones. Tamburlaine, Faust, Barabbas are the personifications of arrogance, ambition and greed. There is sometimes a touch of the extravagant or bombastic, or even of the puerile in his plays, for he had no sense of humor; nor had he the ability to portray a woman. He wrote no drama on the subject of love. Furthermore, his world is not altogether our world, but a remote field of the imagination. It has been remarked that â€Å"in Marlowe’s superb verse there is very little to indicate that the writer had ever encountered any human beings. [1]In spite of this, he was great, both as a dramatist and poet. His short life, the haste of his work, the irregularities of his habits, these things combined to keep him from perfecting the creations of his imagination. Taken together, his plays imposed a standard upon all succeeding theatrical compositions. Before him, in England, there was no play of great importance; but after him, and based upon his work as a model, rose the greatest drama of English history. A friendlier critic, Mr. A. C. Swinburne, observes of this poet that â€Å"the father of English tragedy and the creator of English blank verse was therefore also the teacher and the guide of Shakespeare. † In this sentence there are two misleading assumptions and two misleading conclusions. Kyd has as good a title to the first honour as Marlowe; Surrey has a better title to the second; and Shakespeare was not taught or guided by one of his predecessors or contemporaries alone. The less questionable judgment is, that Marlowe exercised a strong influence over later drama, though not himself as great a dramatist as Kyd; that he introduced several new tones into blank verse, and commenced the dissociative process which drew it farther and farther away from the rhythms of rhymed verse; and that when Shakespeare borrowed from him, which was pretty often at the beginning, Shakespeare either made something inferior or something different. To sum up we can say that Marlowe’s major contribution to the Elizabethan drama is due to his vigorous and masterly use of blank verse (his ‘’mighty line’’) – a poetic form consisting of unrhymed iambic pentameters which is much nearer to conversational, natural English than any other metrical form. It is vigorous, flexible, and it can suit itself to the necessities of declamation, oratory, exposition, speechmaking, etc. , being used by Shakespeare himself to extraordinary effect. The last but not the least famous Elizabethan we have to speak is Ben Johnson (1572-1637), who was an English renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly Volpone, The Alchemist and Bartholomew Fair, which are considered his best and his lyrical poems. A man of vast reading and unparalleled breadth of influence on Jacobean and Caroline playwrights and poets. The second place among the Elizabethan and Jacobean dramatists is universally assigned, on the whole justly, to Ben Jonson, who both in temperament and in artistic theories and practice presents a complete contrast to Shakespeare. Most conspicuous in his dramas is his realism, often, as we have said, extremely coarse, and a direct reflection of his intellect, which was as strongly masculine as his body and altogether lacking, where the regular drama was concerned, in fineness of sentiment or poetic feeling. He early assumed an attitude of pronounced opposition to the Elizabethan romantic plays, which seemed to him not only lawless in artistic structure but unreal and trifling in atmosphere and substance. That he was not, however, as has sometimes been said, personally hostile to Shakespeare is clear, among other things, from his poetic tributes in the folio edition of Shakespeare and from his direct statement elsewhere that he loved Shakespeare almost to idolatry. ) Jonson’s purpose was to present life as he believed it to be; he was thoroughly acquainted with its worser side; and he refused to conceal anything that appeared to him significant. His plays, therefore, have very much that is flatly offensive to the taste which seeks in literature, prevailingly, for idealism and beauty; but they are, nevertheless, generally speaking, powerful portrayals of actual life. Jonson’s purpose, however, was never unworthy; rather, it was distinctly to uphold morality. His frankest plays, as we have indicated, are attacks on vice and folly, and sometimes, it is said, had important reformatory influence on contemporary manners. He held, indeed, that in the drama, even in comedy, the function of teaching was as important as that of giving pleasure. His attitude toward his audiences was that of a learned schoolmaster, whose ideas they should accept with deferential respect; and when they did not approve his plays he was outspoken in indignant contempt. Jonson’s self-satisfaction and his critical sense of intellectual superiority to the generality of mankind produce also a marked and disagreeable lack of sympathy in his portrayal of both life and character. The world of his dramas is mostly made up of knaves, scoundrels, hypocrites, fools, and dupes; and it includes among its really important characters very few excellent men and not a single really good woman. Jonson viewed his fellow-men, in the mass, with complete scorn, which it was one of his moral and artistic principles not to disguise. His characteristic comedies all belong, further, to the particular type which he himself originated, namely, the ‘Comedy of Humors. ‘ In opposition to the free Elizabethan romantic structure, Jonson stood for and deliberately intended to revive the classical style; though with characteristic good sense he declared that not all the classical practices were applicable to English plays. He generally bserved unity not only of action but also of time (a single day) and place, sometimes with serious resultant loss of probability. In his tragedies, ‘Sejanus’ and ‘’Catiline,’’ he excluded comic material; for the most part he kept scenes of death and violence off the stage; and he very carefully and slowly constructed plays which have nothing, indeed, of the poetic greatness of Sophocles or Euripides ( rather a Jonson’s broad solidity) but which move steadily to their climaxes and then on to the catastrophes in the compact classical manner. He carried his scholarship, however, to the point of pedantry, not only in the illustrative extracts from Latin authors with which in the printed edition he filled the lower half of his pages, but in the plays themselves in the scrupulous exactitude of his rendering of the details of Roman life. The plays reconstruct the ancient world with much more minute accuracy than do Shakespeare’s; the student should consider for himself whether they succeed better in reproducing its human reality, making it a living part of the reader’s mental and spiritual possessions. Jonson’s style in his plays, especially the blank verse of his tragedies, exhibits the same general characteristics. It is strong, compact, and sometimes powerful, but it entirely lacks imaginative poetic beauty, it is really only rhythmical prose, though sometimes suffused with passion. Last, and not least: Jonson’s revolt from romanticism to classicism initiated, chiefly in non-dramatic verse, the movement for restraint and regularity, which, making slow headway during the next half century, was to issue in the triumphant pseudo-classicism of the generations of Dryden and Pope. Thus, notable in himself, he was significant also as one of the moving forces of a great literary revolution.

Sunday, January 5, 2020

Why Georgia Should Stop The Death Penalty - 1202 Words

Hideous crimes deserve the death penalty, or so the southern state of Georgia says. Consequently, Georgia holds one of the nation’s top records for carrying out capital punishment, with more than 950 implementations in its 250 year history of executions. Meanwhile, national scholars continuously debate death penalty pros and cons, and the debates ignite both passion and protests. Georgians opposing the punishment intensely explicate numerous reasons for overturning the law, including unreasonable cost, increased crime, and inhumanity. Supporters quickly rally behind the law asserting that Georgia does not demand capital punishment for any minor offenses, most non-fatal indictments, and many fatal indictments; Georgia only demands this hideous punishment for murderers who kill viciously, brutally, violently, and unjustly. Supporters also disagree with the reasons presented by the opposition because there are solid statistical studies that can refute each of these arguments. Con sequently, Georgia should continue its support of the death penalty because capital punishment is ethical by Biblical standards, efficient by economical standards, and effective by statistical standards. Just turn on the news or read U.S.A Today and it is impossible to miss copious amounts of evidence pointing to the growth of violent crimes committed in our nation. Does this mean capital punishment is failing to deter crime, or are there statistics supporting the effectiveness of executions?Show MoreRelatedTaking a Look at Capital Punishment1004 Words   |  4 PagesWilliam Furman murdered William Micke on August 11, 1967 in Savannah, Georgia. Furman was unemployed, and only had a sixth grade education. William Furman became depressed, and started to commit theft for food and money. Furman was caught stealing several times, but was only given a light sentence. At 2 a.m. on August 11, William Furman broke into the house of William Micke, while Micke and his five children were sleeping. William Micke heard a noise and went downstairs to see where the noiseRead MoreEssay on A Call for Change: Abolishing the Death Penalty1728 Words   |  7 Pagesgovernment must stop trying to pr eclude murder by committing murder and the ultimate punishment should be prison for life with no chance of parole. In 2010, 558 citizens in the state of Georgia were murdered (â€Å"Crime in United States.†), and two Georgian civilians were put to death by our government (â€Å"Execution List†). Capital punishment results in the death of an American citizen; the only difference is murder is illegal unless the government is holding the gun. Many individuals believe the death penaltyRead MoreCapital Punishment Research Paper1425 Words   |  6 Pagescomplicated area of government; not all states enforce the death penalty, because criminal punishment is a subject left for the states to decide (Banner, 2002). There are multiple methods of execution available to enforce the death penalty; different states enforce different methods, even multiple methods (Death Penalty Information Center, 2010). There are some people that argue the death penalty is a form of cruel and unusual punishment and should be prohibited by the constitution (Banner, 2002). AccordingRead MoreThe Death Penalty A nd The Safety Of The United States1180 Words   |  5 Pagesjustice in the United States, But even then it has some flaws. Three of the faults I decided to discuss about are the death penalty, Issues within prison for example; weapons and riots, and high incarceration rates. The death penalty is just one of many faults in the justice system. It is legal in 31 states such as Alabama, Arizona, Arkansas, California, Colorado, Delaware, Florida, Georgia, Idaho, Indiana, Kansas, Kentucky, Louisiana, Mississippi, Missouri, Montana, Nevada, New Hampshire, North CarolinaRead MoreArgumentative Essay On The Death Penalty989 Words   |  4 Pagescommonly known as the Death Penalty. The Death Penalty is killing someone as a punishment for a crime through legal terms. In 2014, six hundred thirty-four people that are 18 years and older out of one thousand seventeen people were in favor of the death penalty (Gallup). We use this punishment to serve justice for the life of the victim that has been taken. I am in favor of the death penalty and it should be issued in all states for people who commit heinous crimes. The death penalty is constitutionalRead MoreIs The Death Penalty Really Necessary?1316 Words   |  6 PagesKyle Kieffer Mrs. Cardell American Lit 06 Mar. 2017 Is the Death Penalty really necessary? Since the very beginning of the growth of the thirteen colonies, to the end product being the United States of America, 15,760 citizens have been executed. Throughout the time span, their methods of executions have gotten more sophisticated, for the good and unfortunately, the bad. The first methods of executions include, but are not limited to: burning on the stake, hangings, or being shot down by a firingRead MoreThe Debate over Capital Punishment Essay1025 Words   |  5 Pagesscenario is not to different from the horrible acts of violence that lead an offender to death row where today some 3,500 people are awaiting the ultimate punishment. The topic of capital punishment is, and has been a sensitive issue. Debates over the capital punishment are centered on the morality of taking a human life. Questions on whether or not our justice system is capable of sentencing a person to death on accurate evidence. Civil rights groups are even involved claiming that races and financialRead MoreThe Death Penalty Of The United States1746 Words   |  7 Pagesnever the answer? Then why is there such thing as a death penalty? Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishment inflicted. This is what is stated in the 14th amendment of the Bill of Rights. So why is there still a death penalty in the United States? The first laws created towards the death penalty dates back as far as the Eighteenth Century B.C. in the Code of King Hammaurabi of Babylon, which allowed the death penalty to be carried out forRead MoreThe Death Penalty Of The United States1733 Words   |  7 Pagesnever the answer? Then why is there such thing as a death penalty? Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishment inflicted. This is what is stated in the 14th amendment of the Bill of Rights. So why is there still a death penalty in the United States? The first laws created towards the death penalty go as far back as the Eighteenth Century B.C. in the Code of King Hammaurabi of Babylon, which allowed the death penalty to be carried out for 25Read MoreCapital Punishment : A Controversial Issue957 Words   |  4 Pagesconvicted of committed a heinous crime. The death penalty has been a method used throughout history as punishment for criminals. The punishment also known as the death penalty is a scheduled execution, which would be done with lethal injection. The reason why this punishment is chosen is because when crimes are committed that shock the conscience, the immediate emotional reaction is to retaliate with severe punishment (Sch nurbush 2016). The death penalty is debated when it is brought up, opinions