Khotyn battle 1621. Іgnored source in ukrainian historiography

The article offers a historiographical consideration of the description of the Khotyn battle 1621with an emphasis on the historical value of M. Kostin's “Chronicle of the Land of Moldova” in the coverage of theevent. The relevance of the study is dictated by the 400th anniversary of the battle. The purpose of the study is to clarify the historical significance of thechronicle in revealing the theme of the Battle of Khotyn in 1621. Methodology describes the work of M. Kostin, its source base, comparison with other historical sources, review of its use. Conclusions. “Chronicle of the Land of Moldova” by Myron Kostin, being the only source for studying the history of Moldova in the early and mid seventeenth century. at the same time it is a true description of the events of the Khotyn War (1620–1621). Although the chronicler is not a contemporary of the events, his account of the Battle of Khotyn is based on serious Polish sources of the relevant era, oral information from contemporaries of the fighting, the traditions of the princely family of Movileshty, and so on. The work is positively characterized by a deep and detailed description of events, impartiality, clear analysis of military operations of a participant in many battles, education of the author and his broad outlook, which allowed him to understand the causal links of actions, actions of the parties, unconditional literary talent M. Kostin. His disregard for the events of the Khotyn War of 1621 by a number of Ukrainian historians shows a reluctance to consider the event comprehensively, using all sources. Moreover, we see a focus on showing only one fragment of this historical event, the participation of the Ukrainian side in it. The language barrier to the use of the Chronicle is no more a problem than a political motive.

Legalities in All Wound Care Negligence of Care

Wound care costs in the United States exceeds 10 times more than that of other countries.1 Legal suites are increasingly paid out by clinicians, not the hospitals or the healthcare system.2 Many clinicians are facing lawsuits for malpractice or professional neglect. When taken to court and found guilty, the judgment will result in a large settlement then include the loss of the clinician’s license.1 Since malpractice has a limited judgement, many lawyers are seeking damages as a result of elder abuse. In using elder abuse, the judgements do not have a limitation and often result in very large settlements.2 Clinicians need to learn how to protect him/herself from lawsuits and present the best defense. Areas of negligences in care are: 1) Failure to follow the provider’s orders. 2) Failure to properly monitor and observe the patient and the progress of the wound, 3) Failure to report changes in the patient’s condition. 4) Failure to properly document wound assessment properly and with true description.2

THE DOLLS’ DRESSMAKER RE(AD)DRESSED: JENNY WREN'S CRITIQUE OF CHILDHOOD, FEMININITY, AND APPEARANCE

Of all Dickens's eccentric children – whose numbers include the Artful Dodger, Paul Dombey, Little Nell, and Smike – none, perhaps, is more peculiarly “old-fashioned” than Jenny Wren in Our Mutual Friend (1864-65). From her first appearance, Jenny exhibits a strange indeterminacy: A parlour door within a small entry stood open, and disclosed a child – a dwarf – a girl – a something – sitting on a little low old-fashioned arm-chair, which had a kind of little working bench before it.“I can't get up,” said the child, “because my back's bad, and my legs are queer. But I'm the person of the house.” (222; bk. 2, ch.1) This description of Jenny cannot settle. The initial assumption that she is a child is placed in doubt as she becomes, in quick succession, a “dwarf,” a “girl,” a “something.” It is left to her to define how she should be perceived, but the phrase she chooses – “the person of the house” – only compounds the confusion. Throughout this article I follow the spirit of this passage. Rather than pursuing a “true” description of Jenny Wren, I offer a reading that puts her indeterminacy centre-stage, along with her job as a “dolls’ dressmaker” for wealthy women. In her appearance, her work, and her language, I argue, Jenny calls into question how gender and child/adult identities are constructed in nineteenth-century society, both in her own working-class milieu, where she is taunted by local children (224; bk. 2, ch. 1), and in the fashionable upper- and middle-class world to whose whims she caters. In addition, I draw upon Thomas Carlyle's novel Sartor Resartus (1833-34) and the work of Walter Benjamin to suggest that Jenny's satirical and playful use of words constitutes a philosophical critique of the mutability of appearance in mid-nineteenth-century modernity.