Pro Euthanasia in Steinbecks Of Mice and Men Essay -- essays research

The Ultimate Gift-Euthanasia Prompt: Defend or challenge the notion that George's act of killing Lennie was one of kindness In John Steinbeck's classic novella, Of Mice and Men, George makes the decision of killing Lennie because he knows it is in Lennie's best interest. His act of killing Lennie is not considered criminal. George has good intentions in killing his companion. George is trying to prevent Lennie from being tortured and from his constant desire to please George and not cause trouble. Additionally, Lennie repeatedly places himself in difficult situations, and as a result, brings George into the circumstances. There is a close friendship between George and Lennie, and George had carefully thought out whether or not he should destroy his life. George is faced with witnessing the death of Candy's beloved, old dog and Candy's reaction to his death, which helps George to finalize his resolution. After several years of looking after Lennie, George knows what is best for Lennie, as well as the people around him. George?s act of shooting Lennie can be looked upon as gracious. If Lennie had not left the world and his problems, a large amount of torture would fiercely come his way. The bloodthirsty mob, including the violent, disruptive Curley, has the mindset to demolish this ignoramus who killed Curley?s wife. Because of Lennie?s mental impairment and immaturity, he would not be able to handle such animosity. In saying that Lennie is not to blame for the death of Curley?s Wife, Lennie should not have to face the merciless people at the farm. George knows that Lennie is unable to survive in the world. As disappointing as it is for George to know that he and Lennie will never be able to fulfill their everlasting ... ... sheep dog and Lennie is an exceptional worker. Both Lennie and the dog are shot with Carlson?s gun at the back of their head. Carlson reasons with Candy in explaining that if he shot him in that location it would be painless. In knowing that Lennie was shot in the back of the head, George intentionally did this for him to have a more peaceful, pleasant death. By examining George?s notion to kill Lennie, it is valid to say that his act was one of thoughtfulness and benevolence. Due to Lennie?s retardation, it is difficult for him to be independent. Lennie is able to escape being tortured, taken advantage of, and being so hard on himself just for George?s acceptance. George learns from Candy?s mistake of not killing his dog himself, and George takes the initiative to do it the right way. Euthanasia was a gracious way of George letting Lennie go.

Bharatnatyam

Introduction to Semiotics Bharatanatyam A journey from temples to the proscenium An introduction Bharatanatyam is a Sanskrit word, which means the dance of Bharata (India). True to its name, it is one of the oldest and most popular dance forms of India. It originated in the temples of Southern India and was later codified and documented as a performing art by the Tanjore Quartet. It is now the most popular Indian classical dance and is appreciated worldwide. Bharatanatyam is a language in itself. Like Sanskrit language, bharatanatyam follows strict rules and is technically sound. The grammar of the steps is followed rigorously. It is danced to Carnatic music and the mathematical precision of the dance equals the Carnatic music measure of measure. The three significant ingredients of bharatanatyam are: bhava (emotion), raga (music) and taal (rhythm); governed by Bharata muni’s Natya Shastra and Nandikeshwar’s Abhinaya Darpana. Hence, the interpretation BHAva +  RAga (music) +  TAla+  NATYAM(dance) =  Bharatanatyam. The technique and presentation â€Å"Bharatanatyam in its highest moment, is the embodiment of music in a visual form† -Balasaraswati The three major attributes of a Bharatanatyam performance are Nritta (technique), Nritya and Natya (drama). Nritta is pure dance. It is the movement of hands and feet on the rhythm and speed. It is a collage of rhythmic lines, forms and shapes. The movements, mudras or gestures do not signify anything. Then why nritta? Indian music and dance forms are based on the concept of cyclic rhythm or taal. Various musical patterns are woven with the musical notes and rhythmic patterns which can be beautifully executed through nritta. Nritya is interpretative dance. It is used to exhibit the underlying meaning of the song and the emotion attached with it. It is a combination of nritta and abhinaya or expressions. The meaning of the song is expressed systematic gesture language and facial expressions. Natya is equivalent to dance-drama. It is a language of gestures, poses, dialogues and mime. It depicts a story usually from the Indian mythology like Ramayan or Mahabharata. Here, the emphasis is majorly on abhinaya or expression rather than the rhythmic movements. The Abinaya is divided as: Angikabhinaya:  Expression through the limbs and body like the Head, Hands, and Legs. Vachikabhinaya:  Expression through narrations and voice. Aharyabhinaya:  Expression through dress, ornaments and other aids. Satvikabhinaya: Mental expression of feeling and emotion by facial expression and use of eyes. Bharatanatyam: The Journey The journey of bharatnatyam from the temples of south India to the proscenium of the world is a very exciting one. Dasi-attam (Origin and decline) Bharatnatyam as a very ancient and traditional art form has been associated with the temples of South India. It is believed that Bharatnatyam used to be known as the â€Å"temple dance†. Bharatnatyam was also known as the dasi-attam (dance performed by the dasis – the servants of God) or the sadir-attam (court dance). It was choreographed to be performed solo by the devadasis in the temples as an offering to the deities. These women, called devadasis, are said to have devoted their lives to God. They were considered to be united with the Gods. Infact, they were considered so close to the gods and so pure, that a pearl form their necklace was considered auspicious for the mangalsutra of a woman. They performed useful functions at temples like cleaning, lighting lamps, dressing the deities etc. They also sang devotional songs and danced in devotion to the deities. Apart from this, they taught music and dance to young girls. These devadasis were accomplished artistes who could play many musical instruments. They were well versed in Sanskrit and other languages, which helped them to interpret the compositions that they would perform. They were instrumental in developing a tradition of classical music and dance in South India. The devadasis were celibate and were not allowed to have a family as they were considered to be married to the Gods. Therefore, initially most of the dances in Bharatnatyam were choreographed to be in praise of God. Many padams (narrative pieces) depicted the love story of a nayak (hero) and a nayika (heroine). In most cases, the nayak was in the form of Lord Krishna, or Shiva or any other mythological hero. While Shiva was said to be serious, Krishna was full of pathos and love. Thus, the choreographies mainly concentrated on Sringara rasa (love). Gradually the devadasi system started getting plagued with several notorious ills. Around this time, it was customary for the Indian people hailing from royal or aristocratic families to invite a devadasi to a celebration, to sing and dance and perform. The best dancers were invited to the royal courts to perform, in return which they were provided with a shelter. In this period, the position of the devadasis could be compared to that of an apsara (celestial nymph) who danced in the courts of the Gods in order to please them. Eventually, the rich men and the aristocrats attracted the devadasis with good money and luxurious lifestyles and lured them into being their mistresses. The devadasis were easily enticed to the kind of lifestyle offered to them. Thus, the sringara rasa in their choreographies converted into eroticism and they danced merely to appease the rich men. As consequence of which, these devadasis who were held at par with the temple priests lost their respect in the society. By this time, the Europeans had arrived to India. Their advent was like addition of fuel to the fire of the already deteriorating dance form. The Europeans ridiculed this entire system of dancing to please the lords and considered this to be no better than prostitution. Under the British rule, propaganda prevailed to against Indian art, misinterpreting it as crude and immoral. Also other factors like loss of patronage due to the unstable political conditions, lack of recognition in the education system and lack of appreciation as compared to that given to ballet ; played a major role in the set back of the dance form. Due to the degenerated status of the devadasis, the Indian reformers started a movement against the devadasis. Thus the devadasi tradition was banned. The government started working with various non-governmental organizations to help reinstate these women into the society, as well as raise public awareness of the demeaning nature of their life work Thus, the devadasi tradition and with it the performing art (bharatanatyam) took a back seat in the history of Indian art and culture. Revival Against all odds, a few families preserved the knowledge of this dance form. These included individuals from varied backgrounds: Indian freedom fighters, Westerners interested in Indian arts, people outside the  devadasi  class who learnt Bharatanatyam, and  devadasis  themselves. The pioneers in reviving this art for are: E. Krishna Iyer, Rukmini Devi, Balasaraswati etc. Bharatanatyam now attracted young artists from respectable  Brahmin  families. Initially met with shock, their participation ultimately helped to shift public opinion in favor of reviving the art. An association of  devadasis  joined the effort to revive Bharatanatyam. Its ranks included an eventual teacher of Rukmini Devi’s, as well as the family of the legendary dancer Balasaraswati. Rukmini Devi’s debut performance in 1935 was a milestone. Her efforts won over much of the orthodox community of Madras. Her reforms of costume, stage setting, repertoire, introduction of dance drama,musical accompaniment, and thematic content, overcame the objections of conservatives that Bharatanatyam was vulgar. She went on to found the Kalakshetra institute, to which she attracted many great artists and musicians, with whom she trained generations of dancers. Balasaraswati promoted the traditional art of the  devadasis, maintaining that reforms were unnecessary and detracted from the art. Staying true to her  devadasi  lineage, she achieved great renown for her excellence. The renewed awareness of Bharatanatyam in Indian society allowed many nattuvanars  to resume their training activities, and many artists to enter the field of classical dance. Rukmini Devi’s desire to restore the full spiritual potential of the dance motivated reforms that led to what was known as the Kalakshetra style of Bharatanatyam. Bharatanatyam soon became the most widespread and popular of the Indian classical dance forms. It wasn’t long before it achieved international recognition as one of India’s treasures. Rukmini Devi versus Balasaraswati Differences in the similarity of trying to revive the Indian traditional art form The two towering figures that played a major role in the revival of das-attam as bharatantyam: Tanjore Balasaraswati and Rukmini Devi. Balasaraswati was affiliated with the school known as Tanjore court style while Rukmini devi was associated with a style that she developed at Kalakshetra. By focusing on these two dancers, we can throw light on the historical event of the upgradation of bharatanatyam. They were contemporaries. Balasaraswati gave her first performance in 1925 in a temple and Rukmini Devi gave her first performance in 1935 for the Theosophical Society’s anniversary celebration. Both performed Bharatanatyam regularly on concert stage and considered it a means of salvaging the endangered dance form. In the Indian dance world, both of them are legendary figures. Their names have become synonymous to classicism and traditionalism. Around both of them instructional communities have developed, which led to idea of development of various styles in Bharatnatyam. They led on to take Bharatnatyam on a whole new international level, in their own way. Despite the similarities and the oneness in the agenda of working for the up gradation of the lost dance form, the difference in their ideologies held them in opposition – which has affected the background of Bharatanatyam ever since. Rukmini Devi was a Brahmin who was married to an English Theosophist, George Arundale at the age of sixteen. She came in contact with the famous ballet dancer, Anna Pavlova who accepted her as a student. Pavlova later suggested Rukmini Devi to train in her ‘own dance from’. Following her advice, Rukmini Devi returned to Madras and trained under a traditional guru in the classical dance form, Bharatanatyam. She defied the orthodox custom that upper and middle class girls should not learn dance and set up Kalakshetra to train dancers from the upper and middle class families. The establishment of Kalakshetra played an important role in bringing Bharatanatyam from the temples to the concert stage. Balasaraswati on the other hand hailed from a family of devadasis. She was born in a lineage of women who were associated with the Tanjore music and dance since generations. Her mother and grandmother wanted her to become musician considering the social stigma linked to dance at that time but she decided to become a dancer against all odds. She gave her first performance, arangetram at the temple of Ammanakshi in Kanchipuram, marking the beginning of her legendary career. Rukmini Devi Rukmini Devi entered and Balasaraswati had carved their positions in the world of dance with a radically different perspectives. Rukmini Devi had a very clear goal of purifying the dance form. According to her, the dance form was precious but degraded because its reigns were in the hands of people with ‘ill repute’. She wanted to eradicate the stigma associated with it by passing it on to the hands of people from the upper or middle class. She thought that everything about Bharatnatyam needed to be purified so that it could regain its respectable position in the society. Also, she believed that the main reason for the degradation of this art form was the fact that sringara rasa (love) was the centre of the choreographies. The sringara rasa had led to the degeneration of the art form as introduced eroticism and sexuality in the art to the extent to make it vulgar. â€Å"To depict such things is unthinkable for me†, she said. She was not against the sringara rasa as such (she had performed love poems by jayadeva and kalidasa in her natya), but against the choreographies performed by the devadasi. The actions, mudras and movements included by them in their choreographies had become earthy from beautiful. She strived hard to replace the sringara rasa by bhakti rasa or ‘devotionalism’; devoid of any sexual referrant. Bhakti Rasa Rukmini Devi held Bharatnatyam as a national art form and worked towards its purification and propagating this art form in India and the rest of the world. She established the Kalakshetra – international school of performing arts, to fulfil her goals. Here, students from various upper and middle classes were trained in Bharatnataym and also some other dance forms. She also set up a theatre which gave a platform to her students and also to her innovations in the dance form. Thus, she made reforms to take Bharatnatyam to a whole new international level. Balasaraswati Balsaraswati on the other hand, was very proud of her mother, grandmother and her devadasi ancestors. She was very proud of the achievements of the devadasis in the world of Bharatnatyam. Unlike Devi, she fore grounded the South Indian nativity and stood by the Tamil roots associated with the dance form. She advocated preserving the tradition, and also keeping it in the hands of the  devadasi  community. Her argument was that the art would die if separated from the caste. She believed that Bharatnatyam was in its purest form and it required no modernization or reformation. At many occasions she reprobated efforts to purify the dance form saying. â€Å"Indeed the effort to purify bharatanatyam is like putting gloss on a burnished gold or painting a lotus†. This proves how high Balasaraswati’s respect and love for Bharatanatyam (in its existing form) was. She urged to adhere to the custom of Bharatnatyam being performed in temples and courts. She also urged taking Bharatnatyam on the concert stage. This gave a new dimension to the revival of the dance form. She also defended the maintenance of originality of the dance form, by supporting the long, solo performances being an important component of the dance form. She emphasized the importance of such elements in to context to maintain classicism, integrity and aestheticism of the dance form. She also believed that abiding by the Tanjore Quartet’s format was an important way of honouring the contributions of the court practitioners. Sringara Rasa Balasaraswati was particularly critical of the reformers who believed in transforming the sringara rasa of the form. She was quoted as saying, â€Å"Sringara is bhakti and bhakti is sringara†. She believed that there is an intricate relationship between the expression of love (sringara) and feeling of devotion (bhakti). She believed that sringara is the supreme emotion and that no other emotion could express so beautifully the mystic union of atma (soul) and the paramatma (The almighty). This rasa gives the dancer a wide scope of introducing artistic innovation from within herself. Balasarswati thus, believed that she was entrusted with the task of safeguarding the dance form by not allowing it to be modernized and easily accessible for corruption. In spite of all the discouragement faced from the world, she continued to protect the dance form, the purity and the originality of the dance form. A similarity in the differences In spite of all the difference and such radically opposite perspectives, both Rukmini Devi and Balasaraswati had the same agenda- of saving the dying dance form. They both strived in their own way to protect the dance form and to take it to a whole new level. Their efforts in bringing Bharatnatyam to the concert stage or proscenium against all the opposition and hurdles from the society are commendable. A choreographer should be thankful to the endeavours of these two torchbearers towards the revival of the Bharatnatyam. History was therefore selective. Rukmini Devi and Balasaraswati presented their understandings by emphasizing on some aspects and eschewing the others.

The Synthesis Of Aspirin ( Acetylsalicylic Acid )

Abstract This report presents the synthesis of Aspirin (acetylsalicylic acid), as the product of the reaction of salicylic acid with ethanoic anhydride under acidic conditions. Aspirin was purified through recrystallisation by vacuum filtration, followed by desiccation of the Aspirin crystal over silica gel. The percentage yield was calculated as 44.89% and a sample of Aspirin was analysed using infra-red spectroscopy and compared to the spectrum of pure Aspirin, this served as an introduction to the identification of functional groups in organic compounds. The melting point was calculated using an IA9000M apparatus and recorded to be 35.2 °C, which was slightly below the melting point of pure Aspirin; known to be between 138-140 °C. Both IR spectroscopy and melting point measurement were used verify the purity of synthetic Aspirin made, which proved to be fairly pure under these laboratory conditions. Key Words Salicylic acid Aspirin Felix Hoffman Ethanoic anhydride Infra-red spectroscopy Acetic acid Health and Safety Laboratory coat and safety spectacles were worn at all times. Ethanoyl anhydride and concentrated sulfuric acid are highly corrosive. Ethanol is flammable, salicylic acid is irritant to eyes and skin. Chemicals were handled in the fume cupboard. Plastic gloves were worn throughout the experiment. Introduction Medicinal records of the properties and use of bark willow extend back to ancient civilisations such as the Chinese and Egyptians. By 400BC whenShow MoreRelatedMicroscale Synthesis of Acetylsalicylic Acid1211 Words   |  5 PagesSynthesis of Aspirin Ling Tecson Gamido, Mitchiko Mariel M. Mizukami Abstract Acetylsalicylic acid, or also known as aspirin is known to be a drug that relives people of pain and is commonly used even today. It is synthesized from salicylic acid and ethanoic anhydride, both of small quantities. Phosphoric acid was used as a catalyst in the synthesis to speed up the process. Esterification is involved and the final product is aspirin with the presence of acetic acid as the byproduct. In orderRead MoreSynthesis of Aspirin1618 Words   |  7 PagesSypnopsis In this experiment, acetylsalicylic acid was synthesized from the acidification of salicylic acid and acetic anhydride. The objective was to convert a specific amount of salicylic acid into the same amount of aspirin that was high in purity. Furthermore, the other objectives were to enable students to conduct the synthesis of aspirin, reinforce skills or recrystallisation and the technique of melting point determination. The amount of each compound should be the same because there isRead MoreHistorical Developments Relevant For Aspirin Essay1313 Words   |  6 PagesHistorical Developments Relevant to Aspirin: A historical Development that relates to Aspirin is the father of our modern Medicine Hippocrates, who was a Greek Physician, left records of how they treated headaches, fevers and pains, and to ease child- bearing pains with a powder made of the leaves and bark form a Willow Tree. Also the Ancient Egyptians left a medical text called â€Å"Ebers Papyrus† which is also lists willow among a list a plant and animal remedies for pain relief, fever reduction, andRead MorePreparation of Aspirin and Determination of the Melting Point1445 Words   |  6 PagesPREPARATION OF ASPIRIN AND DETERMINATION OF THE MELTING POINT Ferrer, Lara Melissa V. Faculty of Engineering University of Santo Tomas Manila, Philippines ABSTRACT This experiment involved three steps: synthesis of aspirin, isolation and purification, and the estimation of purity of the final product. The synthesis involved the reaction of salicylic acid and acetic anhydride in the presence of a catalyst, phosphoric acid, H3PO4. When the aspirin was prepared, it was isolated and filtered. The percentageRead MoreSynthesis Of Aspirin Synthesis825 Words   |  4 PagesSynthesis of Aspirin Erin Chase Arellano CHEM 12A ABSTRACT Acetylsalicylic or most commonly known as Aspirin is made through a combination of salicylic acid and acetic anhydride. It is use to relieve mild to moderate pain such as muscle pain, headaches and common cold and reduce fever. The objective of this experiment was to synthesize aspirin from salicylic acid and acetic anhydride. The purity of aspirin was tested using the ferric chloride test and % yield was also calculated. Below drawingRead MoreEsters And The Process Of Esterification709 Words   |  3 Pagescarboxylic acid derivatives most commonly produced by the reactions esterification. The most famous esterification is also called Fischer esterification, which is actually an acid-catalyzed reaction of alcohol and carboxylic acid. In addition to acid, alcohols can react with acyl chlorides, anhydrides, and esters are also formed. U with the reaction of alcohol and acyl chloride, with the ester there is HCl, so in such esterification reactions should be added to the base which will bind the acid producedRead MorePharmaceutical Industry : Chemical Synthesis Essay2219 Words   |  9 PagesPharmaceutical Industry: Chemical Synthesis Production of Acetylsalicylic Acid I. Introduction Pharmaceutical industry is one of the biggest industry in the world as it involves drugs and medications - something that is very stable in terms of demand. This can be proven by the amount of sales as of 2012. Figure 1.1 shows the breakdown of the market of the pharmaceutical industry worldwide. However, aside from the production and synthesis of drugs and medications, the industry is also involvedRead MoreSynthesis Of Aspirin Lab Report1101 Words   |  5 PagesExperiment 19: Synthesis of Aspirin and Oil of Wintergreen The purpose of this experiment was to employ techniques to synthesize aspirin and oil of wintergreen and to purify crude aspirin via recrystallization. Additionally, techniques were learned to determine the purity of the synthesized organic molecule of acetylsalicylic acid using a back-titration method. The objectives of the experiment were achieved by synthesizing the organic molecules of acetylsalicylic acid (using salicylic acid and aceticRead MoreExperiment 8: Acetylsalicylic Acid Experiment1650 Words   |  7 PagesExperiment 8: Acetylsalicylic Acid Experiment 01/25/2013 CHM Lab- 2211 Sec 0016 Instructor: Jennifer Reed Introduction: Commonly used as Aspirin, acetylsalicylic acid is an analgesic (pain reliever), which is one of the products of the esterification reaction between salicylic acid and acetic anhydride. This esterification occurs since the hydroxyl group from the salicylic acid reacts with acetic anhydride to form an ester. In this experiment, we will be able to recreate this acid catalyzedRead More(Trinity Ems Ambulance In Lowell Ma (Left) And Umass Lowell1456 Words   |  6 Pages(Trinity EMS ambulance in Lowell MA (left) and UMass Lowell EMS Class V non transporting ambulance (right)) UMass Lowell EMS currently carries five different types of medication on their trucks: Aspirin, Narcan, Glucose, Epinephrine, and Albuterol. Technically, oxygen is listed as a Basic Life Support (BLS) medication, but is not listed as it is readily available in the air. EMT-Basics (EMT-Bs) were able to use activated charcoal for ingestion poisonings, but are currently no longer legally allowed

Essay on Memories, Nature, Hardship in Robert Frosts...

The poem â€Å"Birches† is another one of Robert Frost great poem of using nature to get his point of view of life into the readers mind. Throughout the poem it seems as if Frost is trying to show things of life that could be hardships, friendships, sadness, memories, or etc. Frost uses memories, nature and hardships to describe different times of life in this poem. In this poem of birches the speaker seems to reminisce a lot on his youth days. He wants to go back to the days of swinging on tree limbs. The times of not stressing but going out and having fun. Climbing the birches is almost like trying to escape life problems and hardships. Lines 54-57 shows the speakers imagination of climbing the birches and escaping the hardness of adult life.†¦show more content†¦That can be compared to life by saying, Another person can not bring you down, only the hardships that you go through if you are not strong enough will consume a you. Ice storms are not storms everybody in the world go through. Ice storms are for places that receive a lot more snow. Ice storms are very powerful and could cause plenty of damage. Trees are not that strong when a real tough storm comes and hit. The nature of ice storms could also have a different meaning coming from Frost. An ice storm brings destruction to everythings in its path, causes pain to people, and sadness. Thinking of an ice storm somebody have in life could be the troubles that they have. The Ice storms trouble that the author may have could come from the hardships of being an adult. When you become an adult and doing things on your own with no help, sometimes it can drop a person down. Leaving childhood and becoming an adult brings new responsibilities and duties to a persons lifestyle. Once you hit adulthood there is no way of returning to a child. In the poem the speaker can not handle the responsibilities of being an adult. The climbing of birches is not a permanent escape but only temporary. Almost like a vacation that humans take to relax their mind. The relaxing enjoyment does not last forever though. After the vacation, you go right back to the duties of being an adult. The paying bills, working to have clothes, food, and shelter,Show MoreRelatedRobert Frost : A New England Poet3698 Words   |  15 PagesRobert Lee Frost Known for being a New England poet Robert Frost was born in San Francisco, California on March 26th, 1874. Born to a New England father William Prescott Frost Jr. and a Scottish mother Isabelle Moodie who moved to the west coast from Pennsylvania after marriage (Bailey). Both his parents were teachers and poets themselves, but his father later became a journalist with the San Francisco Evening Bulletin (Bailey). Frost spent 12 years of his life growing up in San Francisco, until

Prosperity of the 20s - 1946 Words

How did the Prosperity of the 1920’s impact the Great Depression and how would this depression be escaped? World War 1 was a very traumatic time for America. Not just a lot of money was lost and owed to America, but many people lost their life. Coming out of World War 1 people were looking for hope, something to lift their spirits. The Roaring Twenties could not have come at a better time. The Roaring Twenties was an era of technological advancement, and a better economy than America had ever seen. What people didn’t know is that this couldn’t last forever, and that the era that would follow the Roaring Twenties would be an age of darkness and would make up for all the carelessness from the prosperity that occurred in the 1920’s. After the Great War, also knows as World War 1, people had just come out of an era of death and depression. People were looking for something that would make them happy and to better the life in America. They got exactly what they hoped for through the 1920’s. This era was also called the Roaring Twenties for all the advances in techno logy, agriculture, and most of all lively culture. All these things made life much easier, happier, and less concerned about money for the people that lived in the United States. On top of that, The Roaring Twenties was a time of rapid change. Artistic innovation and popular culture flourished heavily in this age and most of all the economy boomed. Businesses were making much more profit and employeesShow MoreRelatedThe Roaring 20 s Era Of Growth And Reform1309 Words   |  6 PagesThe era of the 1920s, also known as the Roaring 20’s, was a revolutionary time in which radical changes struck the American nation, drastically increasing advances in society and economy. New and different forms of dance, music, clothing, behavior, and lifestyle were developed nationwide. 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People began to fear that the boom was going toRead MoreThe Essence Of The 1920 S1659 Words   |  7 PagesEssence of the 1920’s in The Great Gatsby â€Å"The Roaring Twenties was the period of great American prosperity which was built on shaky foundations.† For decades, the 1920’s have been interpreted as a period of economic prosperity and social change in which the novel The Great Gatsby was born. In the early 1920’s, the United States experienced a period of immense reorganization of social and economical life; therefore, this post- World War I era became referred to as â€Å"The Roaring 20’s†, â€Å"The Jazz Age†Read MoreGlobalization : Globalization And Sustainable Prosperity1032 Words   |  5 Pagessustainable prosperity â€Å"To what extent does globalization contribute to sustainable prosperity for all people?† Globalization’s impact on sustainable prosperity is examined in the source. It does this by asking a question. 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It changes people, families, towns, and societies. War changes the world and it changes people s attitudes. One common trend seen after major wars is a time of economic prosperity, when the economy is booming and all is well. This was seen after both World Wars, in the 1920’s and the 1950’s. In each decade, everyone was returning from the war, spirits high, and looking to celebrate. The economy prospered, and all was well. One major change that came about from theseRead MoreThe Shady Shift After World War I1166 Words   |  5 PagesThe Shady Shift After World War I America s economy was booming. People everywhere were making money and spending it on electronics, movies, cars, music, and late night parties. This was the time when no one had a care in the world and just enjoyed the luxury life style. But while everyone enjoyed the new amenities and frivolous spending, no one knew what was going on with the banks. 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Nearly all social classes felt its benefits. Workers rights improved, taxes were lowered, technology advanced, and industry boomed. The war was brutal and the roaring twenties were a chance for the United States to put the past behind and enjoyRead MoreEconomic Prosperity : George Washington s Farewell Address1660 Words   |  7 PagesEsh a Parikh Blanchard APUSH 2 16 January 2015 Economic Prosperity: 1898-1945: Prior to the 1890’s, the United States followed a foreign policy of seclusion to worldly matters. This idea stemming from George Washington’s Farewell Address to â€Å"avoid entangling alliances† became the foundation for American seclusion and detachment, a policy which resulted in this country being able to overcome tremendous internal difficulties facing the rising, fast-changing state of America. The Manifest Destiny enlarged

The Secret Circle The Divide Chapter 10 Free Essays

Cassie woke up to sunlight streaming in her windows. Her room was bright but cold, and the March morning air contained a windy chil that shook the windows. She would have given anything to stay beneath her warm covers and hide from the day, but she knew that wasn’t an option. We will write a custom essay sample on The Secret Circle: The Divide Chapter 10 or any similar topic only for you Order Now Instead she got up, wrapped herself in her blue terrycloth bathrobe, and made her way outside to fetch the newspaper. She assumed there would be a write-up on Constance in the obituary section. There was no paper on the front porch, but Cassie did find Adam, curled up beneath his jacket, asleep on the porch swing. She watched him for a moment. How peaceful he looked, but he couldn’t be comfortable. His long legs and arms were pretzeled into the swing, hanging halfway off. He’d probably been there all night. This boy really loves me, Cassie thought to herself, looking down on his beautifully sculpted body, crunched as it was within the confines of the swing. He probably loves me way too much. She reached out and grazed his cheekbone with her fingertips. He smiled sleepily at her, stretching. â€Å"What in the world are you doing out here?† she asked. Adam quickly took inventory of his surroundings and rubbed the back of his sore neck. â€Å"Protecting you.† â€Å"From the witch hunters?† Cassie blurted out. â€Å"But who was protecting you while you were out here all night protecting me?† â€Å"I was,† Adam said, and then laughed. â€Å"But I guess I dozed off.† Cassie took his face into her hands. â€Å"What am I going to do with you?† She kissed his chapped lips slowly and warmly. â€Å"Promise me next time you’ll at least come inside and sleep on the couch.† Adam kissed her back passionately. He wrapped his strong arms around her and pulled her in close. She could smell the ocean on his clothes and in the creases of his neck. She kissed him there and expected to taste salt, but instead it tasted fresh and cold like ice. â€Å"I promise,† he said, with a shiver. â€Å"Will you come inside now and let me warm you up?† she asked flirtatiously. He blinked his long dark lashes at her and eagerly followed her through the door. â€Å"Where’s Faye?† Diana asked, but nobody seemed to know. Diana had found a protective spell in her Book of Shadows, and she wanted to cast it upon the group as soon as possible. But they’d been waiting at the beach for over an hour. â€Å"Faye’s been late to every meeting this week,† Diana said. â€Å"This is unacceptable. Suzan, will you call her again?† â€Å"She’s not answering,† Suzan said. â€Å"She’s been totally sketchy lately.† Sean nodded. â€Å"We had plans with her last night, and she blew us off.† If it were anyone other than Faye they were talking about, Cassie would have been worried. But she knew Faye would show up eventually. In the meantime, Cassie was glad to be at the beach rather than the lighthouse. She felt safe there among the long stretch of sand, the steady repetition of crashing waves, and the vast, limitless sky. She wanted to enjoy every last second they had before tourist season littered the sand with strangers. She imagined it now like a nightmare: foldout chairs as far as the eye could see, bratty sunbathers, and self-righteous surfers; toppled-over soda cans and screaming, orange-fingered, Dorito-munching children. She much preferred a cold, abandoned beach to a hot, crowded one. She thought of Scarlett then, how it would be nice to invite her out to the beach one night this week. Maybe they could build a bonfire and make s’mores. It would be a fun way to offset all this stressful Circle business. Then Faye appeared, waking Cassie from her daydream. â€Å"Am I late?† she said. â€Å"Sorry.† â€Å"Where have you been?† Diana asked. â€Å"Trust me, you couldn’t handle it.† Diana ignored her comment. â€Å"We need to begin the protection spell before the sun starts to set.† Cassie tried to assume the role of a leader as the group arranged themselves into a wide circle formation. Diana kneeled in front of a stone kettle, mixing together a dark, oily concoction. â€Å"In this cauldron is salt water from the ocean mixed with blueberry oill and eucalyptus,† she said. Then she looked up at Faye and Cassie. â€Å"Will the two of you, together, use the dagger to draw our circle around me?† Faye unsheathed the silver dagger, which had been concealed beneath her flowing black skirt, strapped to the inside of her thigh. Her eyes narrowed, as they always did when she had a sharp object in her grasp. â€Å"Give me your hand,† she said to Cassie. She guided Cassie’s thin fingers around the dagger’s pearl handle and enveloped them with her own. Together, as one, they drew the circle in the sand. Each member of the group stepped inside as Melanie placed two candles on either end of the cauldron Diana was mixing. â€Å"Here I place two candles,† Melanie announced according to ceremony. â€Å"One blue, for physical protection, and one purple, for power and wisdom.† As she bent down to light the candles, she recited a chant from Diana’s Book of Shadows: â€Å"Divine Goddess, God Divine, if evil dwells within this place, make it now leave our space.† She then positioned the book on the ground beside Diana and took her spot within the circle next to Laurel. Diana stood in the center of the circle holding up the cauldron. â€Å"In order for this to work,† she said, â€Å"you all need to picture a white light around you. Let it surround your whole body as I recite the chant.† Everyone agreed and closed their eyes. Diana raised the cauldron high up to the sky and said, â€Å"By the power of the Source, no evil shal enter here.† Then Cassie closed her eyes, too, and pictured a white light wrapping itself around her like a warm winter coat. Diana’s voice dropped an octave, and the chant left her throat like thunder. Psychic hunters in the night Psychic hunters of the day Destroy no more what I achieve Destroy no more what I receive There were a few seconds of quiet, hindered only by the Bill owing wind and crashing waves. Then, Cassie heard the bell-like echo of Diana stirring the mixture inside the stone cauldron. Diana continued. With this potion, I anoint this Circle To be protected from you, this magic I do Cassie opened her eyes and watched Diana rub a smudge of the inky blue mixture upon her forehead with her thumb. Then she did the same to Faye’s forehead, and Cassie’s, and all the others. When she finished anointing the group, Diana asked Cassie and Faye to join her in the center. The three of them held hands around the cauldron and candles, with closed eyes. Cassie pictured the white light surrounding not only her own body now but the whole group as one. She imagined it encapsulating them like a giant helium ball oon and floating them up to the safety of the cloudless sky. Diana finished the spell. By the power of this ocean, wide and deep, By the power of day, and night, and powers three, This is our will, so let it be! Little by little, everyone opened their eyes. â€Å"Did it work?† Sean asked, raising his fingers up to the blue smudge on his forehead. â€Å"How long do we have to walk around with this oill on us?† Suzan asked. â€Å"It probably causes breakouts.† â€Å"We can go wash it off in the ocean in just a minute,† Diana said. â€Å"So that’s it?† Faye asked, picking up the dagger from the sand and re-sheathing it beneath her skirt. â€Å"We’re invincible now? Why didn’t we do this long ago?† â€Å"There are conditions,† Diana said. † W ha t conditions?† Faye asked, mocking Diana’s measured, proper tone of voice. Diana wasn’t bothered by Faye’s ridicule, probably because she was so accustomed to it. â€Å"We’ll be safe from bodily harm inflicted by the hunters,† she said. â€Å"But the spell only protects us on the island of New Salem. If we step beyond that, we’re vulnerable.† â€Å"So nobody leaves the island,† Adam said. â€Å"Under any circumstances.† He glanced over at Nick, who had taken to disappearing for days at a time, but Nick ignored him. Diana dug a deep hole in the sand to discard the remaining potion. â€Å"It also doesn’t mean the hunters can’t find us. So everyone has to be extra careful. We have to do everything we can to remain undetected.† She stood up, wiped the sand from her hands, and looked directly at Faye. â€Å"We can’t practice magic at all. The hunters will be looking for anything out of the ordinary to find out who we are.† â€Å"What?† Faye charged at Diana like she might tackle her to the ground. â€Å"Our magic is the only power we have. How else are we supposed to defeat these guys if we can’t use magic?† Diana squared her thin shoulders to Faye and matched her gaze with equal ferocity. â€Å"We find them before they find us,† she said. â€Å"That’s how we’re going to defeat them.† â€Å"Faye,† Melanie said, stepping between her and Diana. â€Å"These are my aunt’s murderers we’re talking about. You’re going to put your magic on hold, because if you don’t, you’re putting the whole group at risk. And we can’t have that.† Cool-headed Melanie had never threatened anyone in her life, but here she was, an inch taller than Faye, ready for a fight. Adam got between them before things had a chance to escalate. â€Å"Everyone needs to take a deep breath and calm down,† he said. â€Å"We can’t afford to be fighting each other right now.† â€Å"No,† Melanie argued, shoving Adam’s peacekeeping hand aside. â€Å"What we can’t afford is Faye not following Circle rules when our lives are at stake.† â€Å"Please, Faye.† Adam was practically begging her to cooperate. â€Å"No magic. Just until we figure out who the hunters are. Okay?† â€Å"Fine. My God, you people are so boring.† Faye began walking away, toward the ocean. â€Å"That’s not all,† Diana called out. â€Å"We also need to be on the lookout for Outsiders who are getting too close. And anyone new in town.† Diana glanced sharply at Cassie. She didn’t name Scarlett specifically, but she didn’t have to. Then she turned to Faye. â€Å"So you need to lay off Max.† Suzan smirked. â€Å"How can she lay off him when he won’t even let her lay on him?† Faye looked like all the fight had been knocked out of her. It obviously bothered her that Max wasn’t falling under her spell like every other boy in school. â€Å"Is that all?† she asked Diana. Diana nodded. â€Å"For now.† Faye turned and marched toward the ocean to wash her forehead clean. Her black skirt and hair flowed behind her like a dark shadow. The next morning at school, Faye pulled into the empty parking space beside Cassie and Adam. â€Å"Is Diana here yet?† she asked, before she was even out of the car. â€Å"Not yet,† Adam said. â€Å"What’s wrong?† Faye looked anxiously around the school lot, at Sally and Portia gathering their pompoms and books, at a few lacrosse players playing catch, and finally at Suzan sitting on the hood of her Corol a, applying mascara. â€Å"I can’t handle this no-magic thing,† Faye said. â€Å"I had to wait for water to boil this morning. Can you believe that? Eight minutes. Like I have nothing better to do with my time.† â€Å"I’m with Faye,† Suzan said from behind her hand mirror. â€Å"I feel so ordinary, so unexceptional. It’s dehumanizing.† â€Å"And on top of all that, you have a stain on your shirt,† Faye said. â€Å"I know.† Suzan scratched at the blotch on her collar. â€Å"How do normal people get ketchup out of their clothes?† Diana zipped her Volvo into the spot next to Faye and hurriedly pushed her door open. She was less put together than usual. Her hair was loose and wild, and her jacket was hanging half off. She had a coffee cup in one hand and a bagel in the other, which she shoved in her mouth to dig for her books in the backseat. â€Å"See,† Faye said. â€Å"Even Diana’s a mess. We can’t live like this.† Until this moment, Cassie hadn’t realized how much her friends used magic in their everyday lives. Adam helped Diana with her books. â€Å"This isn’t easy for any of us,† he said. â€Å"But we have to stick with it. It’s only temporary.† The rest of the group arrived sporadically. Whether it was purely psychological or not, Cassie noticed they all seemed a bit distressed without their magic – except Deborah, who tore through the parking lot with her motorcycle up on one wheel. Cars and people scattered from her path until she lowered the front tire down, screeched to a halt, and cut the engine. â€Å"Where’s your helmet?† Diana asked, once Deborah joined the rest of the group. Deborah rolled her eyes. â€Å"I’m not going to mess up my hair with a helmet when I’m invincible.† â€Å"You may be invincible,† Diana said. â€Å"But you can still accidentally run over somebody else.† â€Å"Then maybe they should be wearing helmets,† Faye said, which drew a sharp look from Diana. â€Å"Please, don’t abuse the protection spell,† Diana said. â€Å"It’s not an excuse to be irresponsible.† â€Å"You’re telling me this?† Deborah removed one of her leather gloves, then the other, and pointed at the sky. â€Å"What about them?† Cassie noticed everyone in the parking lot had stopped going about their business and were focused on something overhead. She followed the communal gaze, just as Diana did, to find Chris and Doug on the roof of the school building. Someone screamed out, â€Å"What are those maniacs doing up there?† â€Å"I think they’re fencing,† another voice said. Diana had to look away. â€Å"Please tell me they didn’t bring real swords to school.† â€Å"Technically they’re not in school,† Sean said. â€Å"They’re on it.† Chris and Doug sparred back and forth, swinging wildly at each other, ducking and bobbing. The crowd gasped as Doug took a slicing hit on the shoulder. He cried out, dropped to the ground, and fake blood spurted from the rooftop like a sprinkler. Their schoolmates started to scream, but then Doug jumped back to his feet with one arm hidden within his sleeve and resumed the fight. â€Å"They’re having way too much fun with this,† Adam said. Cassie eyed the crowd of spectators, wondering if any of them noticed Chris and Doug were impenetrable to the swords’ sharp blades. But everyone was so accustomed to the twins’ crazy antics that none of them seemed to question it. Even Max, who was still the talk of the school, was amused by their performance. He was standing with his lacrosse friends and the swarm of pretty girls who fluttered around him at all times. The girls had, for once, diverted their attention away from Max to watch the rooftop. Doug slashed Chris across the chest, slitting his shirt diagonally open. It flapped like a flag in the wind. â€Å"Serves you right, brother,† Chris called out. â€Å"This T-shirt was one of yours.† Laughter passed over the crowd in a wave. Max shook his head, stepped away from his crew, and made his way over to Diana. â€Å"Someone should stop those two,† he said. â€Å"Before they’re both completely naked.† Cassie observed how Max’s admirers visibly sighed at the sight of him talking to Diana. They obviously considered her competition. â€Å"But I can’t be the one to stop them,† Max continued, leaning in close to her. â€Å"Can’t you work some of your magic?† Diana froze for a second, but it was clear to Cassie that Max meant nothing by it. He was fixated on Diana’s eyes. â€Å"You must have every guy in school at your beck and call,† he said to her. â€Å"I imagine if anyone can get them down, it’s you.† Diana exhaled deeply and laughed. She self-consciously tried to smooth her hair down, but it remained beautifully tousled. â€Å"If only that were true,† she said. â€Å"I can get them off the roof,† Faye offered, but Max ignored her. â€Å"It’s just that if my dad catches them up there, there’s no telling what he’ll do,† Max said. â€Å"He’s not big on kids bringing weapons to school.† â€Å"Understandably,† Diana answered, nodding. But before she could return her attention to Chris and Doug, Nick appeared on the roof behind them. â€Å"The show’s over,† he called out, approaching the two of them like he might wring their necks. Chris and Doug looked at each other and dropped their swords. They raised their hands in defense and backed away from Nick, edging closer and closer to the roof’s edge. The crowd fell silent. It had to be a twenty-foot drop. Nick caught on to the trick and stood still. â€Å"That’s enough,† he said. â€Å"You had your fun. Now just come down quietly.† Chris and Doug glanced at the crowd and then latched hands. â€Å"Never!† they screamed, and leaped from the roof, landing on a large Dumpster below. People covered their mouths and turned away. Even Max winced, subtly turning his face in toward Diana’s as he did so. But the twins landed with a synchronized tumble. Without a scratch, they climbed down and took their bows. How to cite The Secret Circle: The Divide Chapter 10, Essay examples

Measurement Tools For The Determinants of Health

Questions: 1. What are the most pragmatic methods to measure the determinants of health? 2. Discuss, whether it is possible to measure all the determinants of health quantitatively? 3. Enlist at least three different commonly used and validated questionnaires that measurephysical activity? 4.Discuss, whether it is possible to measure all the determinants of health qualitatively? Answers: 1.The health determinants depend upon the values. The basis of defining health can be biological, psychological, physical, social or cultural but there are associated values that identify the change in path from an acceptable state of being the reflection of people. The most pragmatic method is that of assigning numbers to the states of health and then manipulating the numbers (Streiner, D., Norman, G. and Cairney, J. 2014). The indicators of the status of health define the quantities and that denote the aspects of health. These indicators can be either positive or negative measures. The ultimate aim is measurement of disease or ill health. Another method is DALY (Disability adjusted life year) which is calculated by adding Years lived with disability or YLD and Years of life lost or YLL (WHO 2000). 2.No, it is not possible to measure all thedeterminants of health quantitatively. For example, the determinants like the emotional or the cultural factors can be recorded either by observation of experiment and this requires qualitative generalization in form of surveys or questionnaires. Although qualitative data does not give the accurate probability of the health outcomes, yet it can be used as a support instrument along with the quantitative measures (Braveman, P. and Gruskin, S. 2003). 3. (a)One of the most commonly used physical activity assessment questionnaire is based upon the physical activity record that requires to enlist all the physical activites performed throughout the day. The questionnaire was based on the records of physical activities performed at work, at home or during the leisure time. The purpose of this questionnaire was to calculate the physical activity level with the help of the record (Koebnick, C. et al., 2005). (b) The second type of questionnaire is the Modifiable activity questionnaire in which the leisure and occupational activities are assessed and the validity and reliability of the results can be demonstrated in multiple studies. This questionnaire not only considers the recreational activities but also takes into account the physical activity done at work or at home (Sallis, J. 2010). (c) The third most commonly used form of questionnaire is the computer tailored interventions that depend upon the quality of intervention, exposure, duration, intensity , method, use of theory, source credibility and the delivery mode. The questionnaire is based on the physical activity ratings and the outcomes related to the same are measured (Neville, L. 2009). 4.No, it is not possible to measure all thedeterminants of health qualitatively. This is because qualitative research can only helpn in either providing insights into the subjective needs of the people who are the participants of targets of the various programs and interventions that aim at addressing the social determinants of health or qualitative research can help to unpick the black box of the programmes and the interventions to provide a more meaningful understanding about the factors responsible for implementation and impact (Kelly et al. 2006). The major difference that lies between the quantitative and qualitative research is that of replicability and generalizability. Qualitative research allows logical generalizability and not the probabilistic generalizability. References Braveman, P. and Gruskin, S., 2003, Defining equity in health, J Epidemiol Community Health, Vol. 57, pp: 254-258. Kelly, M., bonnefoy, J., Morgan, A. and Florenzo, F., 2006, The development of the evidence base about the social determinants of health, Commission on Social Determinant of health, WHO (World Health Organization). Koebnick, C. et al., 2005, Validation of a simplified physical activity record by doubly labeled water technique, International Journal of Obesity, Vol. 29, pp: 302-309. Neville, L., 2009, Computer-tailored physical activity behavior change interventions targeting adults: a systematic review, International Journal of Behavioural Nutrition and Physical activity, Vol.6, no. 30. Sallis, J., 2010, Measuring Physical Activity: Practical Approaches for Program Evaluation in Native American Communities, J Public Health Manag Pract. Author manuscript, Vol. 16, no. 5, pp: 404-410. Streiner, D., Norman, G. and Cairney, J., 2014, Health measurement scales, Oxford university Press.