It has been a wonderful couple of months here in Boston so far. I've had a way of a time here in the Archive here at Marks Library. It's been a pleasure to have space and time to think and write about these wonderful students, the balance ideas of what they're based here. And I want to just record my friends Chris to the point that he's a gentleman as well.  First that I came here. So I also want to thank the history department, Sarah Ross, for graciously welcoming me here along with the Archive faculty. Father, you've come here tonight, which I greatly appreciate given the election cycle that happens. I also want to thank James H. Murphy, who has been a mentor of mine since early in my PhD, a resource as he has been for so many years, scholars of the 19th century and years of all the help and advice here. So, not a lot done. It falls to me to talk about double the dollar fare in the 1840s. This is a project where you're working on a really talented 19th century story based on the documents of the university called Giniana Edelman. He's a collaborator of mine. And indeed, the person who first brought this trinity-based manuscript to my attention a couple of years ago, in 2015 and 2016. We've been working on this very slowly for the last couple of years, transcribing a great big diary of about 620 pages. And one of the key themes that has emerged has sort of been planned, I suppose, with I think it has emerged in popular culture the last three years. I think it has emerged a central, central plank within that diary is the question of love and consent and power in relationships, which is really close to what we're all interested in. So, I'm going to begin with a fairly hardly-inquoted by Catterford Finn, who is a famous feminist legal scholar from the 1980s. Many of you already know very well. And McKinnon raises here a sort of classic question of feminist theory. The extent of which we can argue for female consent in the patriarchy of the world, she argues that men, women, it is a distinction, not just the difference, but a power and powerlessness. Power and powerlessness is the sex of difference. When McKinnon went through a group of radical feminist theorists, her work is generally considered to be at the extreme end of the spectrum when it comes to questions of power within feminist theory, as if she has quite political ideas to say about it. Feminist scholars of Longarker gets the idea that the shift in king-negotiated, companionated, pragmatic, and marriage patterns in the early modern period to more individuated, choice-based marriages centered on romantic love and mutual attraction, physical loathing ways in the modern period inevitably led to an increase in female power, autonomy, and agency or equality in relationships overall in a setting. It is only going to assume that they have what feminist theory appears to be particular about against this idea. For marketing and whether it's the gift consent, the very idea of gift consent to somebody else is in some senses to exceed domination. I want to come back to that in just a moment. As I said, it's up to Giuliani came to this diary in around 2016 when the Stanford case and several other campus-based controversies in the U.S. and out of the square around the ideas of the early idol to consent, sex, attraction, assault, right-of-peek, and we continue to be through the next two years and I'm sure you're all very aware. And I want to say at the outset that we are greatly influenced by this changing popular public discourse around the topic of early idol relationships. It has formed in some respects the way we approached this 1840s manuscript, and I think it's as well to be upfront about that, and also to see it as a potential positive. Of course, I don't need to introduce this current spectrum of our figure in popular culture, which was reserved currently in Weinstein. But in the Weinstein case, I think the media movement of phenomenon sort of like a song originally called here at Boston College, questions of great areas in sex, power, and leverage of the relationships. I mean, at the center of what becomes the country first, they are the ways the country first exists. And to kind of illustrate that quote, or that idea, I want to just selectively quote from an honor at least by Craig Marley, in the Atlantic in October 2017, where responding to the Weinstein case and the outpouring of accusations came out of it. She said that the things that happened in hotel rooms and board rooms all over the world existed in a grey zone where words like consent can't fully capture the complexity of the encounter because consent is a function of power. So again, coming back to this idea that power is fundamental in our way of reading, even the most intimate relationships, and in some senses, intimate relationships that we don't see that are not visible. So from Marley, a theorist like Tillio Brown, female consent epitomizes some degree individual subjection in liberal society. In other words, consent, to give consent, is an acknowledgement of one's own inferiority or subjection of having lost the game when it's reading the kids' chapter. This was made really clear to us recently in the Kavanaugh era, where Weinstein's proverbial public disapproval resulted almost in zero gain for the woman in the center of a christly blasphemy for whose testimony was widely witnessed, widely understood and, of course, we all know that the resulting behavior of the woman has changed a lot so far. So there's a sense that consent is an issue of the moment, the one that is now frozen in the client group. It's very much now that we have the reprocessed argument. So moving from the present, you'd be glad to hear, right back to the 1840s, which is something I actually know something about. I want to begin with a quotation from a different diary, one of which was examined by a brilliant scholar from the E. R. Davidoff, who passed away two years ago in the 1970s. And this is the diary of Victorian main servant, Hannah Cullick. Hannah Cullick's diaries were published in association with Sirius and Amnesty Diary that was done by Davidoff in the 70s and 80s. And this quotation is from early 1863. And it's a direct statement of non-consent. Can you read that? No. Sorry. If you offer to touch me again, I'll do something you won't like. So go your way out of the line. This is in response to a series of references made by the head of the household in the London Town House. I want to just sort of introduce that as a direct statement of non-consent because there's nothing as direct as that in the following 45 odd minutes in the diary that I'll discuss with you. So now we're going to talk about four things. We're going to describe the diary itself. It's truly called Stop and Archives. We're going to describe the two-week-long centre of that diary. James Fitzgerald and Kenny. James Christopher Fitzgerald and Kenny were going to call J.C.K. for short for obvious reasons. And we're going to describe their affair. That's going to take us probably 20 minutes after. It's a tempestuous affair full of almost adolescent drama and it's good fun to read which is just as well. I'm never going to talk about consent and the whole question of the sexual script and how we might understand the norms of sexual behavior in the 1840s when there's so little written on that and how we might establish a baseline of understanding. The fair decontroversial is held in the diary. So this is the title page of the diary we're talking about. You can see James, Christopher, Kenny he changes the spelling of his own name which is very helpful. Frequently hears that without me most of these things wouldn't even work. The diary runs long. Summer of 1840 to about November of 1841. It's an incredibly detailed handwritten diary and it was purchased quite truly cost of the mid 90s not being truly cost of the course I don't remember why it was purchased. But we have it and Julie and I are the first people that systematically do any work on this and see their scenes. 624 pages in total we've now digitized it but haven't transcribed it fully yet. Our estimate is that it's 300,000 words so it'll take us a while but we've transcribed about 20% of it so far. It's in reasonable condition you can see already from the image that there's quite a bit of detail even in the title page and what marks this diary out is really special is the extent to which the author has illustrated it all with maps, drawings, portraits he's a sort of an amateur artist and he invested a huge amount of time in compiling this thing. Here's how we open this diary from the beginning of this volume to July 20, 1840 it's copied from the diary's capital time the originals are of two large sizes of paper. All it follows is the original the diary's capital time is mentioned the copy was made in April 1841 and you first can see the idea of making my diary into a book or at least the first to set it up. I'll give you this disclaimer in order to introduce the JCK it has somewhat an unstable narrator and as I trust him, he has compiled this very deliberately and he's already at the moment conceiving it a bit as a pop-water Victorian romance so we need to demonstrate some caution where we approach a piece of work that it's at least somehow imagined its own audience already so James was the British writer James I don't know he was a law student in Trinity in the second year of the diary begins who goes the end of the second year and it's a good advertising for power so I'm a Trinity student an undergraduate I have in my hands because it's an extraordinary detail that you can see in these two sample scans he records all of his travels, like nuclear every canal trip he takes every train he gets on he records the time of it he records the moment and how much it costs what happened on the journey in somebody in GPS tracks in 1840's life there's always nothing we don't know about his life so further than that, he also goes back a key moment of his life and recreates quarrels or arguments or love scenes that he has had with his American musical man and he subsequently colors in exactly where he said what, where he said what and draws on that which is the key of the entire event it's extraordinary to take a look at you can see an example of this on the left here which is a little map of the Steven's dream until they were quite well I entered at Dawson's game Dawson's game we went up B to bench one where we sat down and after that we went down PA to bench two looking at a certain quarrel the diary is littered with this sort of stuff every key moment is mapped out for us it's also been written just as the OSI maps, the survey article maps have been published and helpfully for us JCK is also a wannabe cartographer so he copies out the ordered survey maps in color every single house that he visits every single streetscape that he comes to so this is a map directly from the ordered survey maps many, many instances of this this is just a little close detail so the relationship is conducted in secret nobody is aware of it through an album a network of her friends Izzy Kelly in particular and post office charts of the same day in the company you're posting Mary and James meet by appointment they either court in directly in public usually in the south city or in semi-private usually in places that could be considered public therefore if they were caught there it would look so bad but we're in actual fact semi-private or more or less private already so until I read this diary in Trinity College archives I didn't know that where the 1840s couples would go to Canoodle in court in the 1840s was a place like most of the botanical garden or less likely Mount Jerome cemetery which seems to be the place of choice for couples there's a remarkable double correspondence coming right through the diary I don't usually record every single part of that we have everything she says it's awesome he also copies all of her letters to him over the course of the year into his diary I guess 95,000 so we have every word written to him from her and you can see two examples up here written out in his own hands it's all in Israeli not directly pasted in there but this importance for your background is again the point in different relationship that's being developed in history and history here we have the details from one of the letters this one from the early ones just early in the affair we don't have all of his letters to her but she frequently calls parts of him back to him especially when she disagrees with him so we have a piece of them another feature of the protagonist is that he is a social snob so what he's particularly interested in at all times are grand houses and famous people that he meets as well as anybody who he considers to be more social so what he does is whenever he visits a house that belongs to somebody he knows that he's impressed by he not only records the outside of that house it's sketchy but he plots the inside of that house he doesn't ever write in their house so the image on the left here which I'll show you closer is his own house which he and his father rent for the summer of 2014 and we get a precise indication of where every room and which room it is and what edges in that room and stuff we can and should be willing to do this in fact we create all of the scenes from the diary and houses in place so just to give you a close-up this is adding to the house in the area this is the next house as far as we rent it's a little higher excellent but we get a very precise detail so again it's all valuable stuff this is what the inside of the house would look like and he does this for every house he visits to realise another aspect of the diary that's nice that I would draw attention to just in general terms is he also records everything he reads every novel every non-fiction book every newspaper everything he buys or that he or else from a circulated library like Greens and here he is writing to Mary and I'm going to read up this out for you now but it gives you a sense also of a genuine intellectual connection that they have it's very sweet it's also quite one-sided he's sending her all the reading material to show off where he is so here he is saying that he just said maybe Morgan's woman and her master but she didn't like it or maybe tactical from there maybe he should have a certain deference or a facility that he know either way they correspond about it she shares her thoughts he shares his he pretends he reads very few novels which he says here he reads very few novels that's a lie he reads almost every book and of course he's too proud to say so I'm going to read up this short passage as well as his certain emotional maturity that you get a sense of the person she does love me but do I not love her? why should I not love her? what though she is only a dancing master's daughter her soul bears the impressive nature of our stars why should the fictitious barriers of society and custom prevent my bestowing my love of one deserving of the love of one far more perfect than me should I push the old to myself if I love her or not true I would not marry her what worship of high rank evil without fortune for a worship of rank I would wed her and never would rank would wed rank or anything without love so you get a sense of this kind of high long personality his emotional pitch is normally at this level so when he's in despair he's right at the bottom of the darkest cave on earth when he's at an emotional peak he's floating high inside so let's describe Emily to be more funny since it's their love affair pq2 does anybody write a diary here? if any diary writers they apologize for this gross innovation part of your diary is a deletion of yours this image which sorts out the whole story of the cave for this talk is that the only image that we have on the other side is a pretty way an artist less than low which is copied out by jck himself this is the closest we get to a full picture of her and she is the mystery to us as far as we know where the history works luckily for us as well as being an amateur artist and cartographer James is also a compulsive genealogist and successist so the image improving on all of these and he does mention the proof that he is in fact right in the shine line so we have his entire line it's very easy to reconstruct who he is, where he ends up, when he dies how many kids he has etc so James attends Stonyhurst College in Lancashire Jesuit elite Jesuit boarding school in the River Valley which I've done a lot of work on over the years, he's there in the 1830s and that indicates to me James that he is of a particular set and he's a relanted artist he inherits from Claver House in Portumna in 1852 along with two meridian square two meridian properties particularly the meridian square one and this is facilitated by the Meridian death of his elder brother William Sergeant Burnett and dies in 1850 his father dies in 1852 also called James and so James is the second son of the inherits he's related to three very elite Catholic families in the west of Ireland the Belius his grandmother is a Belian the Nugent's grandfather Riverston Nugent and he marries into the Creole Nugent these are all the families that have known between 4,000 and 10,000 years in the west of Ireland he attends Stonyhurst College in Lancashire to which he often refers in terms of Trinity College November where he studied law in 1840 he goes to Concordia in 1843 he graduates in 1848 for nine and then away he comes along he inherits three and a half thousand acres in Portumna and marries into under 850 in Mayo as far as I can tell he never did a day's work in his life so he's a non-practicing barrister which is what he means he has lots of time away from his diary this is what his family tree looks like I'm certainly not going to name this out for you but I would draw your attention to one day there was an Anthony Francis Nugent of Pallas who would make an appearance in a few more slides he would eventually become the 9th or of my school he was born in 1819 died 31st October 1877 he marries in 1870s he's quite old in relative terms he marries in the early 50s and he has six children his wife, before he dies in 1877 two of which survived his heir, William Lionel serves in the Connick Rangers very typical for that but he's banged up in Edinburgh in 1902 I think it's gambling, it's not clear for the court case exactly so he ends up losing the book often happens his second son is much more successful James, he goes minister for justice under the cost grade to show you an image of him up into his career and he's third to the left sort of a slump in Europe so he's not very old in his photographs in 1878 but here he is in 1928 so by all accounts a largely ineffective minister for justice most of the things are calling for his Fitzgerald Kennedy's cows when he defended his brutality his reign as minister for justice this is probably close to what it looked like this is an image done by another person in age 26 we should say this image here is his self-portrait it also makes him look a bit like Woodstock here's an image done by somebody else he's 26 in this image I found this in his genealogical file so at the time of the diary the action he's taking today so he's 21 he's won a few times the prize in 1844 he's a bright young man gifted amateur poet and he has a study of relationship with his media family his brother's department fighting for the British Army his father's usually either hunting or traveling he's usually done in the country not really present in his life and his mother is termed a she died in December of 1842 hopefully about 2 years afterwards most of the action but the current was dominated in the second half Mary is much more difficult to trace that's important for the content of the diary as well you've already seen that JCK is known by her father as a mere dancing master so none of the same social class as he would all and the only reason they meet each other which happens in his grandmother's house is because she's been sort of hired as a liner for his grandmother so she's a sort of an elite level of servants or somebody in any case hasn't worked for her team but isn't considered anywhere near as obvious so her father is a human man he's eventually bankrupted in the 1840s that may be partly where she's on the house and her mother is 7 years dead already it may have been JCK's mother JCK's mother was in fact a friend of Mary's mother and that's how it was a connection between two families not clear to either herself or Jimmy yet but that might have come from where she ends up in his orbit she seems to be a sort of companion for his grandmother she also seems to be teaching his sister Jimmy a piano so she's kind of a mixed community she will later take over work in the course of the diary in two countryside houses near to the old county car now and she also gets a piano she's about 25 I think she's born on February 1816 at least pretty sure about that she's born in double restaurants in Andrews and still she's from a lower social class JCK is clear that her family is somewhat in disgrace her father is not considered a very proper person so she's born as a child her family connects to some prosperous new orage families like the Cox's and Chesterfield family that have some ties to the continent and it's in those new money households that she's circulating for most of the time and this, as I said is really the only image we have of her and her life after 1843 is a complete mystery to us in what it's been impossible to find which means all sorts of people have their own characters okay, so what about the affair between these two what does it look like where does it take place it's easy to track and space either in the south city centre or in Stratford near Blackwalk in County Dublin so the south coastline south bay and then for a lot of the time she's actually paced near to the old town so especially if you know exactly where she lives so here's their very first meeting July 1840 I said very good to the mystery man who nevertheless I would much more inclined to speaking to for the July 1840 their first this is Snowballs very quickly this is already August 1840 9th of August 1840 and this is their first kiss I'm going to come back to this later because this is the first time Elephant to their meeting she gave me her hand but I gently pushed her into the room so that no one could see and clasped her to my bosom go off of yourself as she said but she scarce if and all resisted and I kissed her neck lots of different ways to read that and we'll come back to that but that happens more or less in a month of their first meeting just six days later and she's high thrown emotion of the state here he has as far as he's concerned fall in love and the culture is the love and now at last I am happy never say that now at last the suspicions and the anxious longings for which Sunday 26th of July possessed and tortured me all departed and secured the love by pure and high heart most happy at last, bless her, bless her as an angel for the dear words they've told me about. So a little over a month later, we have mutual professions of love, and we're all set for a beautiful 80-40s romance. It doesn't work out that way. Partly because James is so hot and heavy at this point, Mary decides to pack herself off or her family is like an abolition person from Queens County. We all have passion to defend it. So we obviously have a lot to do with being bored. But Tullo is, I think it's fair to say, a fairly non-descript Midlands town. We can say that because I've heard lots of non-descript Midlands towns. And Mary is according to me very more than 5 or 6 months. The first place she goes is the Brigidine Convent. Tullo is enlisted as a Bishop of London like that. She appears to know some members of the Order, but they certainly put her up for several weeks. And she's corresponding with James wrongly. It's hard to speculate exactly why she ends up there, but it may hardly be because there's been such acceleration. She also appears to be back in relatively home territory. So she spends some time in a house, like her house. And then family to connect with her mother's family and her mother's people. Likewise, the O'Brien House. Now these are kind of strong farmers. They're not particularly rich. People certainly don't want to go into the stone years or anything like that. They're relatively rich farmers. They're not particularly members of the Holy Church. And it's between these three buildings that she will largely be based until January of 1841. And some of those letters that James is transcribing into his area are coming from those houses. Where she appears to be, again, acting as a sort of companion or minor to the women of the household who are either giving birth or are ill in some way. Because he can't see her, he copies out the map of where she is and acquises her in extraordinary detail of her exact which building she's in and so on and then copies them along into his diary. Which is, again, great for our purposes. He mistakenly thinks that she didn't have a lodge, which is the larger two properties. She's actually just over the river slaving in a slightly smaller new building house from the 1840s, which is next in place. Okay. So all is still well at this point. This is kind of October of 1840. They met in July. She's away. They can conduct this passion and not affair by letter. Everything's relatively safe. Until a sequence of rumors started to circulate about Mary and her sister and their contact.  They are only too happy to relate to him and he's only too happy to propriety and secrecy. So here's the first hint of that. This is from the 10th of December of 1840. Julia told me tonight about the past at the Kramanana. Well, he said the officer told him about his knowing Mary as well as he could not have you. And then later it was a letter. I know it, Mark Hansen, but the honors they won in Stonyhurst and in College Coonville they had the brains. And a man who has brains is certainly something to make it this early. Here we get a sense of the sinister point of view of this character. I never signed my letters, unless she might bring you up to me in a lawsuit. Okay. Right. Now we're in this different character point of our antagonists. So there's an interesting backstory to why he might not sign his letters. There's a recent series of publications in popular novels offered to revolve in incorrect marriage students and so on. So it was a topic of popular conversation at the time. Nevertheless, he considers that it was a candidate and sort of unforgivable that he's thinking in so cynical or clinical term that it tells us. Okay. So there are rumors about our previous relationships. The figure most probably in those papers are a man called Mr. Coulter, happy day of tracing, and Mr. Provol, who's almost certainly Mr. John Provol, that later buddy led him in defense of her virtue to James. This is so bad. So, as those rumors are flying around and he is beginning to get to what they were with, hatches on them. They hatch a plan to meet each other. This is not a various instigation, which is interesting. John James suggests this. She's got an opportunity, the room to Tullo, to get as far as blessing him. It's a small town in Winkland with her brother. Her brother is visiting her for a week down in Tullo, and she's got an opportunity to travel with him because she loves her brother so much. As far as blessing him on a male couch, she would depart from him then and come back to Tullo and he starts the plan. Here's what she articulated as the plan. This is the hotel that they will be at, My brother will be returning on Monday or Tuesday at least. I've been thinking of going as far as blessing him with him. To that, no one can object. The caravan stops at the hotel for fresh horses to tell it off, and again, it's returned to Tullo at five in the evening. My reasons for thinking of such a date was that I might induce you to lie down to see me. I know it's a lie, I've never heard of lies, but then you will go nearly as far as you want and he wants to go to Stratford. So this meeting happens, and this meeting will define the rest of their relationship because it is scandalous, it's a scandalous meeting. It happens on the 13th of January, 1841. James, after correcting her way over there, and in fact it's 20 miles away from his house, it's a real charm, says that he will agree to meet there. He does. The only problem is that he gets there at 3.30 p.m. They have a really romantic encounter in each other, kind of firm, dry room and so on. It's all very cinematic. But there's a problem with the weather and they won't trap there for the night. So according to the diary, there's no reason to doubt that they stay in the hotel in separate rooms. There's a really awkward argument over the bill so he has to promise the innkeeper in an excruciating exchange that he will send him the money and they part. But he returns. Of course he had no permission to be allowed in his family home for the night to absolutely scandal his father-in-law's, his grandmother-in-law's, the whole family-in-law's. He's banned from ever seeing him there again. They expect me if they're at home to stay clear of her and so on. But he has no immediate consequences for this encounter. She's not particularly missed at all because she's not keeping down but there are a long-term consequences for her having been so exposed to him. So this is the 19th of January, just six days later, and this is Mary inviting to James. You accuse me of every species of infamy. It was not enough that you charged me with having been the victim of seduction. You also charged me with having been the victim of seduction, Mr. Coulter, and almost forgot with what have you charged me regarding yourself with attempting to seduce you and with attempting to make you unclog from my infamy. James, essentially two letters, we do, we do carefully. You have made accusations, barbarous, infamous accusations, still still I love you. So this is January 14th, six days after that. You will discover you were wrong with me for your suspicions as to the cause of my increase in size. I can thank God, you will charm me. No matter what sacrifice of healing moves her. I will, in her any circumstance, stay open to myself, to my family. So I will submit to when you call the most strict, most lenient person of all time. Which she does remarkably. She sends him a letter from two physicians, based in total one, total one in Cardinal, who had examined her and she's pregnant. Here is the letter from Thomas Pernet and from Jonathan Payne, two local doctors. It's a beautifully written little note but it indicates that she has not, has never been pregnant. This is an extraordinary correspondence. It's all happening in secret. Nobody else knows about these two. So it's remarkable to see this unfold. Here's James's reaction. The certificate says she never was pregnant but it does not say she's pregnant. I don't like Mary's insistence on the examination when I said I believed her. A modest card and she said ready. Okay, he's not impressed. Comes across to me a piece of work here. And there's no question about that. Okay, so somebody will cover for this. This is not the end of the relationship. The relationship can still be happening in 1943. Here we are in March 1941 and you find the exception of the relations where Eric comes from Mr. Coulter and it's all taken to the pit of terror from this understanding. My poor dear Mary, I must believe she loves me. There's peek and slide presented regretting her there but boredom. Yes, I love her too. Swansea is ever though. The personality and spell have been flowing away. I love her as Swansea is a sister. I cannot love her with the whole emotion of my soul. I never knew Mary. It doesn't stop me from wanting to look bad. They meet in May and June. They meet again in September. She would rather be my slave than the wife of any of my aunts. I told her I would much like for her to marry her and offer her a good proposal. But she said no, she could not think of marrying anyone. There are correspondents with her in this sort of frozen space for much of the rest of the year. Okay, so this need just me to a couple of queries around consent. It's helpful, I think, to think of involved as acting out roles both as a juicer and as a juicer in their response. So no portion of the blame or suspicion on the user. We need to stand back from it. Think about the material, at least that's what we're trying to do. So what they're doing is scholars of sexual violence and consent who call is that their act of non-seduction or sectional script most easily defined as ways of knowing how to behave in sexually defined situations. Sectional script is culturally determined allowing participants immediate and expected behavior from which to be able to reduce a sort of baseline of what we're seeing. And to which to judge the content of their partner. So in the middle of the century the sectional script would have pre-supposed what we are in fact reading. Mary is about the female passivity which signifies that James in every letter or intellectual deference these opinions and our acknowledgement of an inability to physically resist his advances are all standard features of the courtship ritual in the 1840s nothing to be shot about. Likewise, James' act of physical pursuit of Mary is an insistent physicality in romantic encounters and exchanges and it's poised about her, of his intellectual real I will again inspect the parts of the sectional script. The power real to Mary James is proactive, Mary is reactive again nothing unusual in that. So what I want to do for the rest of this talk is I want to look at four moments some of which correspond to that sectional script and some of which do not correspond to that one, particularly the ones that don't. Okay, so I'm going to look in again at that first kiss one more time, I think greater detail but I'll also call it an assault and we can decide afterwards what we need. I'm going to look at the assault on Mary by another person and to the U2s, the 9-3 Leslie and I'm going to call that assault number 2 I'm going to look at the blessing in encounter, again go on to the number 3, then I'm going to look at a good measure of one last one and then I'm going to seek your advice afterwards. So here's the first kiss this is happening in the surrounding there's now some more mount street the house no longer exists but it would look just like that one. I seized the moment when I heard from this big man going to the part where I hear him even down the stairs she came to the back part of the door to be able to comply, again in slice directions she gave me her hand, I gently pushed her into the rooms and all he could see and clasped her to my bosom go off of yourself, she said and she scares if at all resisted and I kissed her neck and then went cheap and she timidly turned away her head imprinted upon the deer lips I have so often impressed in my dreams, the first kiss it was half a turn but at least it was permitted and years made all the way before some perfect moment of happiness all sorts of interesting elements of language within this the kiss that was extracted for his pleasure is consumption it's one that is insistent, she tells him on a number of occasions that she has not so it's difficult for us again to think really what seems to be a very obvious assault in some respects to try and figure out how a way to process my poems we know that the relationship certainly survives this encounter and that will become important when we look at the second assault which is my different man but in the same house why I'm so happy and super faking for it that's their first case here's the Anthony Eugene's event which is a refer to three times in the diary between August and September of 1840 Anthony Eugene is James's uncle his mother's brother the time this is all takes place is 35 and he has seven children so the first James here's this he's in August 1840 that she called Anthony Eugene and told me it was very impertinent saying to me did you not observe a not shaped Anthony when he came between something else things like this I never get the story of her quarrel with Anthony Eugene but I could not succeed she never said he was so little pleased with her as the color of a vixen and a fury and then he finally finds out what happened that day she said Anthony Eugene went to see the house before Grandma Mal went to it he looked into Grandma Mal's room and said it was a nice one as well as the back bedroom then he said which is your room she replied I show it to him when she refused going down leaving him where he was their quarrel the quarrel which I coaxed out about now is this he came into the drawing room sat down on her side then he puts her on her chair and on her moving it away round her waist never able to kiss her she started for him threw her book out of his head and went and stroke him asking him how he dared to insult her I could not imagine he said she was such a fear so that's happening around the same time a little bit before she meets James the interesting thing about this is of course that she doesn't physically resist this it's her version of the end of the course which then casts the first encounter with James in a slightly different way because she doesn't do that to James it complicates how we read it also we can tell from this passage it's just how vulnerable a woman like Mary Lynn McMan is around let's say opportunistic middle aged men like Anthony Nugent because she doesn't have a family of any respectability and she's alone isolated in this household in which case James might approve the kind of a welcome way out of all of this ok, let's return to the encounter in the hotel which I've spent many of us speaking about here at Amherst sorry, she said it was closed I see her on my lap which she had a great objection to but I observed whenever my arm rested on her stomach she pushed it up she also said to Mr. Lennon and observed she was tensed on the gate and was getting fat and certainly as I told her her neck seemed better she said happy for a long time I placed my hand on her bosom she sighed but it treated me I thought that I would have a vacation for a woman and on doing so ok, ok, two physical acts that are unwanted and resisted to some degree what seems to be one of these series of things that he admits to in this encounter it's mostly involves him kissing him, staying on till the middle of the night talking in a romantic way is that both of these appear to be a sort of a test he's testing the rumors that he's heard in December on Mary physically and mentally so he's checking if she's pregnant and he's also trying to test how she reacts to him doing that and he's judging her reactions according to the rumors so there's more going on in the event that just you know Matt is trying this case physically or physically and there's more going on in her it's very difficult to come to any sort of firm conclusion about the encounter but it does certainly depart more on some things it's very unusual so this is a sort of moment of you could say negotiating concerns she is very vulnerable the only person that knows she is there is James there may be a great deal of weight in how she's reacting because of those exposures he has her reputation and authority in his hands as he makes these advances here she is referred to maybe constantly come back to this moment as a key moment in her relationship I would not allow you to attempt such a thing you will laugh at my saying I would not allow you but indeed I would not it is true if you went to try your strength against my any development you I hate myself for being such a patient you're shuffling the basics in their course and lastly just to show that this pattern persists despite all this when they meet in May of 1841 he works down gardens I sat down on the seat and forced her jet seat which is the construction of that to sit in my lap which she was unwilling to do when it last consented to all of their encounters with the works down and in the general cemetery following this pattern a certain initial resistance not an usual thing to do it is unusual to see it play out in real time and to see herself forcefully resisted this is the works down in the Italian gardens which is living inside this is the castle of the battlements a lot of their leading points take place in this pattern so it raises this big question I began with again from a kid and I want to conclude very shortly which is three big questions are always so here we go back to this question of power who hasn't been in a relationship how that leverage manifests itself and what that might do to help you so I'm going to try and understand how it's playing out what is it, how will we go about stopping that baseline from which we can judge this so the first question of the case is where the power is correct in response to that how do you is this level of romantic freedom that they're enjoying at the time romantic freedom is one way of thinking who is introducing whom and what and which is the core of the question of any dramatic relationship like this so where the reasoning man consented something that arguably can be given by her outside of the normal structures of Victorian respectability she has an errant, disgraced father who has no interest in her as far as I can see in the diary at all he's sort of ethically compromised but she exposes her her mother's dead she has no other siblings to take the place of moral garnish and so she has a great deal of individual autonomy if one views that word in some respects from a low base when it comes to her decision making her own consent in this relationship with James her movement, which is in the city at least is much freer than most people in her age 25, she's able to move around this apartment apartment very freely in the 1840s and that facilitates this kind of relationship it's in the countryside that she finds herself restricted and their relationship widows James is likewise unsupervised his father is not around he's a little sick in bed all the time his older brother is in Burma and he's got two university things so he's also facilitated a great deal also by being a student in Trinity College Dublin gives an excuse to go into town the second, how typical is this level of romantic freedom, that's difficult to reconstruct and it's also difficult to make large assumptions about so for example trying to spread out from just Dublin in New England where we currently are standing in city it wasn't at all untypical for the old couples of this age to have this level of romantic supervision of parents so in Boston in the equivalent time in the 1840s this wouldn't have been unknown for middle class and middle class couples lots of work is done by L.A.K. Watson on that likewise Martin Lyons has done lots of work on French couples in the 1880s which shows that this kind of correspondence was relatively rare in the couple's pre-sport that our gardeners had access to during the Kingdom and thus was a huge part of the romantic supervision over this type of France at this time in the 1840s we've written our historians when they looked at this issue but typically argued that the early Victorian period was particularly free one but this diary sort of lies in the face of that one the last question who's seducing whom so we're going to end on in conclusion and this is a question of social capital that wants to gain from the relationship so Mary's social capital is clearly less than that of James she's older than James, she's 25 she's a great deal more experienced in romantic love than he does and of course her disgrace would have been told if the details of her courtship have become common knowledge but so too would have damaged James she's quite intent about defending her honor and to solve this very directly by e-christianism the opportunity for Mary to stand back and look into the relationship is that a relationship with James that would lead to knowledge would offer a great deal of accessibility and also a respectable entrance into her middle class in the society a range of circles by contrast James would be a great literally material terms and yet continues the relationship beyond the points trying to make it happen and never marry her that's why he considers it so often his family would have disapproved of the match and he certainly is taking a chance so the question of who's choosing who was there for a point a focus on the red the diary into priority on Mary as a doctor's with a financial motive would appear for the diary is the grossly unfair reading of the dynamic of work in the relationship Mary is in fact quite vulnerable in room for a sympathetic reading of our behaviour even if you did see it in his intention on the relation of James giving her a career as a financial and socialisation equally the idea that James a social proper and emotional individual with a young man or a diary could be cast as a knowing cat as a juicer or a rake seems far fetched as well this appears to be his first relationship of any sort he's attracted to this and he certainly appears to be as interested in Mary's opinion and mind as he is in her body and yet he behaves so the third one raises all sorts of questions about the glaze of the Great Martin talks about the relationship of Mike's leading case raises all sorts of theories about power and unfair leverage to be in an interclassification I'm going to stop talking about it now I'm trying to harvest the other reasons we keep very much in mind our personal problems is he starring in the novel of his own scandalous life so to a huge extent I think he is I think he's taken by the dramatic favourites given to drama in his own description of his own life there's nothing sort of detached about it it's very interesting the idea of having a relationship that is timelessly so yes I think he's very self-consciously trying to invite himself as a character even in his behaviour to her and so I see this kind of element I suppose you would always do this in both words of self-consciousness there are certainly musicians themselves playing out a script or a role as required in many conventions of the day and you see her doing that too when she has to take out something directly to protect her honour or to clarify something with him she will depart away from this character that she's playing as a passive sort of deferential figure and she will absolutely step in in some respects she is a much more she's a much more forced character than he is so yes they're both doing it and I think he recognises that they're both playing these roles that will be worthy of that sensation just why would you benefit from that in that role? so one thing I didn't say about this character he comes back and annotates it with their points so he annotates it in day 43 he annotates it in day 42 sometimes he just writes things like oh I push a way of reaction in the sidebars of the app page he doesn't score it out he just says oh I push it and then he may do that it's not clear it's not clear to me where that diary comes out so I don't know I don't know more about who has it until then and I do know that there's a missing section between November of 1841 and January of 1843 because we have a 17-page time in June from January of 1843 and he's still in our spot so the ratio goes on three or four years at least oh I'm not quite sure what's in our songs but they're history and we said he transcribed all of our letters but I don't know if you hear what he's talking about he will, in some of his entries in the diary he will say he'll give you his periodography and transcribe the paragraphs of it if they're particularly contentious and then she will form them back to him for your sake I'm going to talk I'm going to give you two other talks on this I'm going to talk to you in November of 1842 and that particular element of the diary convinced at least half of that audience might be what he meant what you have to say is it was an intriguing theory that she could be a figure to his imagination yes so it's still 100,000 words that the church and they didn't hear anything in this discussion they won't go to Mass every Sunday and talk about that beyond that they're not particularly interested in the life of the body and the mind instead it seems to be so no she attends Mass regularly he attends Mass regularly he tends to report whatever attract the woman that he saw at Mass doing a long four-day fascination with the woman he calls incognito it's the first mistakes for his marital reason and math and then follows around a double the force back and then continues to see her every now and then that's not the first time he's done that so no, he's not particularly religious he doesn't implore the only time he implores God is as a mantra at the end of every entry from most of 1841 we ask a lot of despair as to whether he was dying but he's just God's spare God's spare so he can give himself but no, he's not especially religious seems to be as a if you said a lot of time to pick up on what John was saying does he write about it now politics or law so he writes a lot about his own accomplishments he's interested in genealogy so he writes a lot about that and the other things that he mostly concentrates on when he's dead when he's dead and then what he's really important is recording and each other he's just a transportist you know, rarely it just appears and that's very strongly figured it is he doesn't seem to spend any time in Portona the whole place really so he's Dublin based and he's a kind of self-obsessed and he's more interested in what he's really doing he spent most of the time with the maternal side of his family and he distrusts his books a lot so his intellectual life is university based and he reads with his mother what he reads in conversation with Mary there's quite a bookish of man he's reading all sorts of things he's seen in this slide so he's reading many more it's a classic quiet of all that you would expect he's really shaped here he's reading so he's reading the exiles of Palestine serving Aryan for the snakes he's reading Emily from Disciples he's reading many more he's reading any fashion in the novel that comes up and he must read at the moment and then he reads a third of the history because he's interested in geology because his dad likes to impress his dad so he pretends he's interested in history but he's really interested in politics and he pretends he's interested in serious numbers of people so what about the text everything he reads where he gets it wrong, how much it costs him who implies it wrong where he sets it on to all of that which I also thought about the invention that's kind of his stuff is it real front-punch I was interested in reading these questions what are the peers do they refer to friends under the age of 18 at all so one thing that he does is he reports every culture event he goes to any opera, any concerts lunch music so who he notices when he's there anybody Richard or anybody who's on the school bench whatever he meets he doesn't seem to have a very close circle of friends he has a very large family that he is in correspondence including being a vocalist he writes to him reasonably often the biggest thing in his life is his mother he seems to be almost a sort of a carer oh yeah, he doesn't appear to have very young people it's hard to judge with people so he doesn't spend a long time in the middle of the stage and there's a very nice thing about him which is that he doesn't know much so her best friend is Lizzie Kelly who facilitates the age of her relationship she's the daughter of a confectioner on the craft industry she seems to be kind of a lively fun character, she seems to live also a huge amount of independence a separate combination of our family also near the craft industry she's doing a lot of referring around her relationship with her mother she fades away she's kind of sent to the countryside and so she's the first in the family to send her away so yeah, I mean I'm wary of this too I'm not a psychologist I'm a historian but it is interesting to see that he has a very deep relationship with some people he's socialised he's a much more secure place in society with education and with money where marriage is to be very differential on a large amount of money in the age of even her caps who are attracted to her maybe she's the most secure person a little bit older and to have friends and she did education at the time education at some unscrupulous trying to keep up yeah, I would completely agree with your reading on it it's exactly the same as mine so she seems to have a little bit more now, she's able to manage her relationship but she's able to turn around and bring it back down to some degree she's four years older than at least a little bit more she seems to have someone like me she's more worthy but she's a lot to lose and she takes big risks she's the one big risk which makes you wonder why she's living between them does she see him as a group he's in the hospital it could be a combination of those two either way she's 25 she has no gallery she's circling in the world of richer men who are able to take advantage of that but also offer her a way out of an institute future so she has something to gain from her potential what question who could play who could play yeah, so I think he is very interesting he's definitely emotionally mature he's definitely insatiable about his looks he's flattered that when he's good looking he has a lot of potential to her capacity she's so impressed by that the race should never recover from that it seems to drive on but she has nothing to say to him she's working at a country house and he has all the time he's willing to just sit in white chairs on which he can concerning her letters to the machine transcribe are plenty of the original letters insist and how accurately I don't really have a I haven't read all 95 of them there's a remarkable consistency to this they're all changing which her phrases contain her phrases there is a lot of detail in them that he couldn't possibly admit because every now and then he asked her to describe her particular locality and she said it's sort of back on socially in verifiable ways exactly as in what Alice in White so yeah it's her voice it's different from his voice like I said just as his rhetoric seems to be constructed in some interest work he's always heard it doesn't emerge that she's having sympathy in his heart as well it's as if the other men are very in their relationship he managed to find out what happened to the third parties but yeah I mean it's it's clear to me that she's the one writing because he does so much back-checking on her some point of things that she's she's corresponding from though pretending to be a part of but then he checks to to get her back as he was at the table and she uses the fact that she traced exactly the time that they could get from the total view of the male coach because there's over a course he's just, he's a very odd person so I think there's enough to be satisfied with that it's a great question, certainly more than a question okay he's very engineered if he doesn't really support so that he's more of an American but has it to be heard that he's ever in a woman and he's just like yeah I'm an American he's like he's pregnant it is a bit much so he he talks openly about that before that he constantly speculates on that to himself but he doesn't say it to her so he's really heard on this before and after that they have a friend conversation about any possible future that can be between them but she certainly knows that her meditation with these families are very compromised very often the culture of one parent leaving allows a relationship to come in and back into peace and safety and respectability but that certainly is his father so they may be they may be just part of your time I mean so I don't have a say but I do think he's the answer for it he is eventually honest and heard that he doesn't see a future and a relationship maybe in the absence it would be better off he's not heard before he said I need job skills that way after the president feels he has the idea of her kind of dropping out of these characters maybe soon with her specifically and the fact that he's gone back and annotated things do you think he ever removes her agency like the fact that if you had the full set of their correspondence not annotated at the UC maybe her having these conversations brings up and maybe he's leaving some of these things out that her has just stand up and defend herself at a certain point comes through but he has to put those in because that's how they need to be for their story to progress for a lot of it do you think that he's at any point gone back and removed you know as I believe that he can't really he's not characterised think all this up and chase her on his own but I think that there's a possibility that he's gone back and kind of removed her agency a little bit and be like oh I'm just poor looking at but I'm still ruling this relationship I suppose if he was clever enough to do that he wouldn't leave it so he would go back and his colleagues couldn't shave for it but he gets that statement so if he's able to come back two years later and not still see that so he says this is a good shit way comment he's just going to strike it out and that maybe argues that you know he isn't capable or a bastard wanting to go back and change it I mean one speculation this is just a speculation is that he saw disregard or he saw regard to a superior character that she remains a sort of play important and she just is a character and not a visually like that has certainly occurred to me sometimes which would flatter me that's my answer I can't answer so anyway I'm on the one hand women are a little bit vulnerable she's still a bit vulnerable but on the other hand she is strong and experienced to assert herself but initially so is it could it not be the case that she saw that the society was also engaged over 172 degree for example that she's able if she was economically vulnerable in this house and you didn't go for her she throws a book at him but she's able to do that in the assurance of society that if it is discovered people would take her part so it's not the case she's not entirely as vulnerable as that number one number two is it's just simply they might be able to collaborate and similarly what was the level of their intimacy physically this is around the cheek maybe on the lips but also what else there's no way there's no evidence in the diary that they have conflicted that's true I'm not sure the argument that they are that the cheek spot is you're quite right to point out that she can assert herself she does write directly when he calls her on a reading question and she shows that she has a certain actually in some respects that she can call on so hopefully she can meet and defend herself she's willing to go and see two doctors to assert her purity but she has to do that in order to keep the marriage prospect like with him or anybody else she's also never into those situations she's reacting just when she's reacting there's almost a sort of an innocence that is advanced that he's not he's not experienced enough or immoral enough to make credentials or so he doesn't seem to have that in him he doesn't do it so the question is yeah she's trying to play the normal kind of heroes and I've always faded and how is she trying to steer so other things concerning context it's the genre of the title but then of course as well there are research relationship more easily but the paternatorium I don't know if it's a bit problematic to be because of the progress of all 16 or more years and in the early 80s you know with the Victorian we had set the expectation to have another job created here of course who else was searching to see if there was somebody who didn't reconnected at the time exactly the same time the pre-mitorial yourself in the late four hastings yeah I think it may be exactly the size of these which would increase the idea that this is a novel that the pre-mitorial hastings was in the employment of the pre-mitorial and she began to put off weight and the pre-mitorial question was terrified about the reputation around those men allegedly the pre-mitorial is no clue but she was terrified of this and she took unitive measures against their pre-mitorial hastings turned out not to be pregnant but to have an answer and she died the whole thing would go between the two in space so at exactly the same time this is going on there's a nationwide public statement that was known about pregnancy or no pregnancy which would indicate to increase the idea that that this is for safety there's also a series of revitalised cases it was suing for damages on problems with marriage so in the idea of writing a new name in a letter that's a proven thing I wouldn't save some of our total care that was a very significant every mistake on half the stories of our problems with that some of these problems that were made in the 20 years before it was not something you could possibly not think of some of the cause and things you take to task forward we're not quite as bad as perhaps oh it's good to have one more JCK apologist in the room I just hope that JCK can provide a name it's not about no being against a series of masking issues I'm just excited about this year so should you I have an excellent talk it's an extended discussion an intriguing discussion and I'm excited to talk to you as a great conservative worker so I think we should thank you, we should thank James not you James


In volleyball, Blackduck on the road to take on Walker hack-and-tack Akely. Drake's jump out to an early lead in the first set, but the Wolves go on the attack. Aaliyah Tabert with a kill to cut the lead to four. Drake's up 15-11 now. The set to Megan Benjamin slams it home. Wolves with the momentum, tied at 16. The setter takes it into her own hands. Kylie Brands with the dump for the point right over the blockers. But Walker would keep their foot on the pedal. Tabert the kill to end game one 25 to 21. Walker would take the next two for the clean sweep.


What is going on guys, welcome back to the channel and I appreciate you being here. Today I want to cover what has been confirmed to be the release window for DLC 2 for Destiny 2 and a few other things. Now this DLC 2 release window in my opinion isn't great news for us and the game. Now on Twitter last night Christopher Barrett tweeted the following expansion 2 will launch in May alongside season 3. Now last night we got a roadmap of what's coming in Destiny 2 going forward and May was the last date it's covered up till. There was no mention of DLC 2 on the roadmap hence why Barrett tweeted this. I personally thought DLC 2 would be coming out about March or April latest but I believe they are following the same path of DLC releases as Destiny 1. As with Destiny 1 we got the dark below on December 9th and then we got the House of Wolves on May 19th. Now the reason I did think the DLC might be coming out a little earlier is because of the game also needs it in its current state. But I do guess under other hand we need bigger changes put in place for when the DLC lands for it to be successful. I said this a few weeks ago if a DLC was to drop tomorrow within Destiny 2 the way it is right now. With the core problems the game has a DLC won't change a thing it will be a waste of content. I still feel the same now. Weapon and ability sandbox changes are coming on March 27th via the 1.1.4 update. What's actually happening within these changes we don't know yet but I believe big changes are coming and to be honest they are needed for sure and they are needed before a DLC is dropped. If changes that were coming were minimal I believe we would have got them sooner. It also states that exotic and armor sandbox changes also will be dropped within this same update. They have mentioned at earlier date that they want exotics to feel much more powerful and indeed they should do. If we read through the 1.1.4 update it kind of looks like changes are being made as a final step to get prepared for season 3 and the second DLC. This although is a mission away I feel it is most probably the right cool. If they need time to fix the game and get it to how players want it then they should take their time in doing so. Bunch of rushing things doesn't work as we know with D2 as it was just one big rush title and now we are wanting to go back and play Destiny 1. I feel sandbox changes will be made in order to make the game feel much more like Destiny 1. With the addition of many things returning which were originally found in D1 I do feel this is the way the games have been coming but that's good in my opinion. We had a great basis to build upon within Destiny 1. They failed terribly trying to reboot the game. I feel they know that now so even though it is going to be a massive amount of downtime between now and DLC 2 if the right changes are made between now and then it will save the game. If the right changes are not met though I feel that's it for Destiny and Bungie. I am confident though now while the game is dead they are desperate to get back their player base and we'll be doing everything needed to do that. So we're going to move on and I wasn't only one to notice this about the roadmap and it did get a few people worried. The E2 World raid layer armor requires prestige mod for some if not all the ornaments yet that won't be coming until Season 3 with the 1.2.0 update in May. Now this puzzled many people why leave it so late? Will we be even able to get these ornaments within Season 3? What's the point in having a prestige mod in May when a new DLC is coming out with now that new raid gear within that new raid layer 2? Will we be able to still obtain these ornaments in Season 3? Well Fitsi and Twitter asked Barrett the following. Will we be able to get prestige Argos ornaments in Season 3 since prestige Argos isn't happening in Season 2? Barrett replied with we won't let anyone miss out on rewards. Expect more info on the prestige layer soon. So there we have it straight from the horse's mouth. We won't miss out. That to be understood still don't excuse the point of them making us wait so damn long to unlock such ornaments but I'm pretty sure they have their reasons. So lastly these roadmaps they are great. They give clear indication of things coming to the game. It's something I feel we and the game need going forward so are they a regular thing? Barrett was asked can we get these roadmaps more often? It's great knowing what we've got to look forward to. Barrett replied with that's the plan and that is great news. These roadmaps are clear dates of content and changes and it's something we wanted from the start. Bungie again getting their priorities right and on that note guys I am out. Thanks for stopping by as always if you enjoyed the video leave them like we'll just help me out and hopefully people I will see you on that next one.


What containers think school explain in this video on anemia of chronic disease? So that means that there is some sort of chronic underlying condition that causes a decrease in production of erythrocytes meaning red blood cells and I have a separate video that goes into erythropoesis So how red blood cells are generally Generated so please refer back to that video to understand a lot of the pathophysiology Physiology behind that But for here for anemia of chronic disease we have certain causes so anything that can cause chronic inflammation It can certainly be autoimmune Any or certain types of infections such as HIV malaria and hepatitis can lead to chronic anemia of chronic disease and then also Cancer and that's mostly because of the suppression of the bone marrow and then also chronic kidney disease Because we cannot activate erythropoietin. So please refer back to my chronic kidney disease video so you can see the correlation there Generally, we have decreased red blood cell production decreased red blood cell lifespan and decreased erythropoietin that would generally help us stimulate the bone marrow production of the red cells So when there is some sort of an exposure or an event that leads to this chronic anemia The immune system responds and there are cytokines that then cause an increase in iron uptake of Macrophages so these macrophages that are actually usually good Just eat away all that iron that we have which then means that we have decreased iron available on the hemoglobin molecules Which then will allow us To produce less erythro sites through erythropoiesis, which will then decrease the red blood cell lifespan Decrease the bone marrow response to erythropoietin. So there's all these different mechanisms here that play a role in anemia of chronic disease for our diagnostic tests or signs and symptoms first as Always with anemia patients will most likely be fatigued dizzy and pale because they're lacking those red blood cells They might also show signs of hyperbolemia with increase in heart rate and low blood pressure For diagnostic tests, we are always on any type of anemia We're going to see these decreased red blood cells and a decreased level in hemoglobin and hematocrit And then many times when we suspect that there is an anemia going on We're going to check iron studies B12 and folate levels to check for these particular anemias and most likely are going to be normal But for anemia of chronic disease, we also have to think about these underlying conditions so we're going to have to check the patient for some kind of liver disorder or kidney disorder by checking liver and renal functions and as well as Electrolytes B because we know that patients with chronic kidney disease or any kind of kidney issues really are at risk for hyperkalemia which can be lethal if untreated and the potassium gets too high For treatment, we always want to address the underlying cause So if this is an autoimmune response or something related to a malaria exposure, we can certainly help treat the underlying cause But the patient can also receive blood transfusions to help augment the blood volume that they are lacking and also we can administer the erythropoietin that they might be lacking to help them produce the red blood cells and that is to our particular treatment for patients with chronic kidney disease as well as cancer patients For our nursing care We want to always check vital signs because we know if the patient can be tachycardic and hypotensive Check their labs all these things discussed here put them on a telemetry monitor Not only because of the tachycardia, but also because we have to think about electrolytes and potassium disturbances Educate our patients about what we're Given them as a treatment and then also what they could possibly need to do to help administer blood as ordered administer erythropoietin if that's the case and then certainly we want to have fallen Infection prevention measures in place to make sure that they don't get hurt or sustain an infection that could then even be worse for their chronic disease Thanks for watching this video on anemia of chronic disease Please check out the other anemia videos I have as well and I'll see you soon right here on nursing school explained Thanks for watching


Welcome back to the School of Calisthenics with Tim and Jaco. Today for you we have got a beginner's handstand follow-along workout. And we're not going to be using any equipment at all today, so you can do this one at home. So the exercises we're going to cover, we've got break into two sections, movement patterning and movement and capacity strength. Our movement patterning exercise is going to be a frog stand, a wall handstand practice with some balance. And also I've put in some shrug and alignment work in there as well. And our capacity strength exercises are going to be a walk out to get some more core strength and some pike push ups. So to give you a heads up on how the video is going to work, it's broken down into two parts. In this first part we're going to give you, go through all those exercises, give the demonstrations and the key coaching points for those. And if you're comfortable with all those exercises already you can jump ahead to part two where we're going to go through the actual workout. Together get through some reps and sets and start to have some fun getting strong. So let's look at the frog stand, our first introduction to hand balancing and getting started, taking the feet off the floor and getting our hands taking our body weight so we can start to progress into our handstand. It's a real simple movement with a few key coaching points. So Jacko's going to go shoulder width apart with his hands. You can see here he's just going to keep the palms slightly off the floor so he can grip with his fingertips. This is a really important part of our hand balancing that we can use that gripping strength to control our body position. He's then going to bend his elbows and the knees are going to come up just above the elbow and they're going to sit just on the back of the triceps. He then starts to rotate forward, screwing the hands out to create some stability in his shoulders. And you can see he stacks his hips up on top of the shoulders. As he feels confident he can then put one foot off the floor, he can then bring the second one to join him. And the job then is just to practice that balance position. You're going to have to feel that you need to tip a little bit further forward than maybe what you want to. That's just you're going to find that seesaw balance position. Otherwise you're going to find you're constantly just falling backwards and your feet end up on the ground. So lift yourself up, play with it a little bit. This one takes a little bit of practice but you'll build the confidence of before long you're going to be holding it in such a great position exhibited by Dave. So the second movement patterning exercise we're going to look at is taking us from that low down position and get working all the way from the top. So into a full handstand, but we're going to be using the wall. So we're going to look at the kick up and then the alignment you've got to create whilst you're up there. So hands go on the floor, shoulder width apart just like they were in the frog stand. All those things exactly the same fingers grip in the floor. Tim's then going to go into like a track start position where he's got a strong leg at the front and the other leg out stretch to the back.  You might want to be a little bit selective about what wall you use when you're at home that you're not going to go straight through it. Make sure it's a nice one, one you don't mind having your feet on against. So then when he sees in that position what he's got to make sure is he creates this grud alignment. So he's got to push down into the floor to lift his feet up the whole time. So you see that movement there, the hips drive up, the feet drive up against the wall. And then he's got his tummy tight and his bum squeezed all nice and tight to make sure that this stays in a nice straight line all the way down from the hips to the shoulders. Rather than if he goes into an arched position where he's looking forward and we see this shape in the back here, it can put a little bit of pressure on the lower spine which we don't want. So we need that lift up, bum on, core on, pushing down to raise your feet as high as possible so you're feeling about making yourself long and strong. So now we're comfortable against the wall and we can create a good alignment. We can actually start to practice this balanced skill acquisition phase which is going to help us to learn that freestanding handstand. So Jacko's going to go up into the kick up just as we did before. The first thing he does in this position is creates nice strong stable shape like we talked about before, emphasizing that shrug, locking the midsection down. So now he's in a strong position, he's got to start to teach his brain how to balance on his hands. And you can see he brings the one foot off, leaving one on the wall which is just shifting more weight over his base of support so he can start to practice what it's like with less support against the wall and relying less on the wall for balance. As he gets good at that, he gets his nice long straight line, quads working hard, he's creating some good tension. Now the next job is to see can you just bring this other leg slightly off the wall, still using the wall for some support but just gently touching it for the correction when you need it. This is all about time and attention, there's no specific reps in the set, it's just some practice until you've got both feet off the wall. The second part of the workout focuses on the strength to be able to maintain this handstand. So those first exercises are about the patterning, the learning to balance on your hands, the skill required for that. Now we're going to look at getting strong. So we've got two capacity strength exercises for that. The first one is the pike pushup where Tim goes from his normal pushup position and then what he's going to do is walk his feet forward and stick his bum nice and high up in the air. He's trying to get his hips as high as possible so he starts to get more inverted compared to the shoulder. From that position what he's going to do is going to screw the elbows so they point backwards and then as he drives himself down he's going to be taking his head forward rather than directly between his hands so they make a triangle with the hands.  It's really important we see the movement forward and then drive back up to that same position because what sometimes happens is you go forward on the way down and you're not strong enough the hips drop down and you turn it more into a pushup rather than a pike pushup. We're trying to get that vertical pushy that Tim is showing you beautifully there. The last exercise we're going to have a look at is the walkout. This is a great core exercise which is going to help us to transfer force through the chain of handstand and create nice strong stable shapes. Super easy to start off with. Jacko's going to drop into his pushup position. This is just a real key point here is how we set this movement up. If we're in a bad shape in our pushup we're going to transfer that when we move into the core into a more difficult core position. So we don't want to see this slumping. We want to see the ribcage locked down on top of the hips. Imagine you've got a bowl of water on each. You don't want to allow the water to spill by lifting the ribcage. Bum's on. Keeping this whole movement section super tight. Jacko's just going to walk his hands out now and he goes as far as he feels comfortable. You'll get to a point where you feel like if you go any further you're going to see that back arch and banana. Dave's pretty good at these so he can actually go out into a real long shape. What we want you to do in this position is just hold out, hang out there for some time and that's just going to help us to rebuild that strength. Just showing my bad one Jacko with the back arch. If you take your hands out you'll feel like your back is going to bend and your bum is going to stick up in the air. Don't train this position because you're just reinforcing bad technique that isn't going to transfer into your handstands. So let's get into the workout now. Just so you know it's going to be into two parts. We've got the movement patterning part which we're going to do first and then we're going to have the capacity strength part. We'll do the movement patterning part first because that's the bit where you're trying to balance. That's the bit that's a bit sort of cognitively demanding in terms of the brain having to think and having to work quite hard. So we want to do it when we're fresh. So we're starting first with the frog stand and then we're going to go through each exercise in a little mini circuit together. So key thing on this frog stand where Tim is going to try and hold it for 10 seconds. He's going to be pushing down hard into the floor the whole time. So 10, 9, 8, 7 is not resting. 6, 5 is pushing down hard. 4, 3, you can see him working. 2, 1. That's a great 10 second hold. So from there we then go over to the wall and we're looking at this kick up and working our alignment. So into the kick up where we're going to be pausing at the top. We're going to do a five second pause and we're doing three times. So tummy tight, bum tight, reaching up and so on. 5, 4, 3, 2, 1. Then he's going to come back down. We're going to do that three times. We're going to do three reps of those. So about time and attention there. Tummy tight, bum up. 5, 4, pushing feet high. 3, 2, 1. Good. That long and strong last rep. Kick to the wall. Feet as high. Always pushing to the sky. 4, 3, 2, 1. Down we come. Then the third exercise is then actually working on the balance. So you're going to take that nice alignment that you've created and we're going to take one leg off the wall. We're going to look to hold for maybe like 5 to 15 seconds of actual balance work. We're going to take that one leg off and he tries to just tap the other leg and then at some point he's going to find that balance point. Hopefully, depending on how much experience we've got, we can offer 5, 4, 3, 2, 1. Beautiful. There we go. So that is one round of our movement patterning exercises. You're going to have 60 seconds rest now or about a minute and then it's going to be my turn. So 60 seconds rest in the bank. Time to check out Jaco's technique and go through set number two. Frog stand please, Mr Jackson.  The key thing for this is trying to get yourself as high as possible. So I'm going to give him 10 seconds. 9, 8, 7, 6, 5, 4. Keep pushing Dave. 3, 2, and 1. Good. End of the frog stand. So the key point there is keep pushing down all the time which you should really feel like you're trying to lift your hands or your knees off your elbows. Right, kick up with a shrug. So your hands go on the floor. We're going to drive that foot up into the wall. Locks down that midsection, pushes himself up nice and tall. 5, 4, 3, 2, 1. And back down. Remember trying to get those feet as high at the wall as strong and as long as you can make yourself. Pushing tall. 5, 4, 3, 2, 1. Last rep. Breathe in between.  Locking midsection, nice and tall. 5, 4, breathe. 3, 2, 1. So that's that nice long technique of alignment in the locket. It's working, aren't it? It's working. Got some capacity strength to come here. Okay, the last bit of this movement pattern is circling. It's giving me the balance practice so you can kick yourself up. Just play around in this position. Guys like Jaco and I can both pull our feet off the wall and balance. But if you're just starting out, it really doesn't matter. Just work at a point where you feel comfortable and you're giving yourself the opportunity to feel that stability, move to instability, and then you can correct it until you find out. There's no shame in using that wall for support. Your brain needs the opportunity to practice and learn that position. Is that about 10 seconds, Dave? I don't know. We'll give that one a rest. So there you go. That is set number two. We've got a capacity strength to come. If you want to throw a little set of those exercises together, pause the video now. Take yourself through one more set and then join us for the capacity strength section right now. Remember, you should have had a minute's rest now whether you've done your two sets or you did that extra one. And then now we're into the final part of the session, where we're looking at the capacity strength. It's really important we spend some time getting strong for these handstands and not just do all the fancy stuff up against the wall, practicing that balance. Because it is fun, but we need to get strong as well. We're going pike push-ups is our first one. We're going to go for 10 reps. He's got his feet up. He's got the bum nice and high. Remember, that head is making a triangle with hands. There's one. And as he drives, he drives the whole chain up to control on the way down, up three, four, five, focusing on trying to make that push as vertical as possible. Eight. He's right up on his tiptoes. Nine and 10. Lovely. So always making sure we have the control. Then we're straight into that walk-out, and we're going to try and hold as far out as you can for 10 seconds. So, cause tight, bum sight. Eight, seven, six, five, four. Look at that shape. Three, two, one, and rest. Oh, coming down to the floor. So you can see how is when we start to be strong enough to get really nice and long, it's exactly the same overhead position as in the handstand, and that cause really link those upper and low extremities together. So, minutes rest. There's my goal. So it's time for Jaco to have a go. Set number two, pipe push-ups. On these ones, guys, if you feel like it tends too many for you to do, there's no problem with dropping those numbers down. You can go through whatever you can feel is achievable as you start to get more confident with ease of build those numbers up. And also you can work through a shorter range of movement if you need to. So Jaco is going full range head to the floor.  That's fine. Just work through the range of movement that you've got. And you're still going to find you really start to build some strength in this position. Is that about three, Jaco? All right. Sorry. I was talking. Okay. So keeping the bum nice and high. Great technique. Keeping the elbows as nice and tight as the body. Reps out the 10. Now for the walkouts. So again, you don't have to go all the way out. We kind of just wanted to show you we kind of pushing ourselves as well through the workout. So we've gone full range, but it might be that you literally move your hands three or four centimeters or five or six inches forwards just to get enough strain on that position where it feels like your back's going to bend but you're locking in super tight, front and back to hold for as long as you can. Aim for something you can do for 10 seconds. It's a meaningful amount of time which is going to help to build up some strength. Once again, you can pause now, hit another set if you want to.  So that's the end of the workout, guys. You've got some skill-based work in the movement pattern. You've done some work to get strong. Hopefully you'll probably find that your heart's up a little bit and you feel like you've done a decent amount of work and all of that is going to build towards your handstand perfection. So you might have followed along just those two sets if you're just starting out or maybe you've done that extra third or even possibly a fourth but that's probably about where we want to sit. Two to four sets of those, looking to get some of the reps around eight to ten to twelve reps in the strength section and making sure that in the patterning stuff when you're working on the skill, you're taking your time to make sure there's real quality in the movement in terms of your alignment and the chance to give your brain the opportunity to learn how to balance on those hands rather than on your feet. Calisthenics means beauty and strength. We want to move with control and elegance. So make sure when you're doing these you're always training with good technique. It's not about bossing out the reps in the shortest amount of time. Just take your time, move with grace, beauty, get strong. What else do you need? Well, at least we try. Yeah, we do our best. So until next time, class dismissed.