Can Zoos Be Educative

Can Zoos Be Educative? There is a lot of discussion about zoos and whether they are necessary in the system of contemporary school education for children to be able to have a closer look at the life of wild animals. Some people consider zoos to be a good educational tool, as they give children a possibility to see an animal with their own eyes, not from the book or at TV. Well, on one hand – it is right, because books or TV shows can hardly replace the experience of seeing animals in real life. But on the other hand – are zoos natural from in their origin? Is it well for a wild animal to live in a cage, which is far smaller than its natural environment? I think that an educative aspect of visiting a traditional zoo is quite doubtful, since the very sense and concept of the zoo looks very questionable, if not to say, wrong to me from the ethical point of view. Keeping an animal in a cage, when it is supposed to live in the woods or jungle does not look very educative. There is a wonderful option apart from the zoos, with a help of which it is really possible to study the life of wild animals in the natural conditions without any discomfort for them – national parks. In them animals are put in the environment as close to the natural one as it is possible in the geographical location the park is situated. So, it is possible to observe and study animal world from aside with the least interference. Thus, visiting national parks can be really educative for schoolchildren; moreover, they can promote love for animal world and respective attitude to nature in general.

Unnatural Causes Is Inequality Making Us Sick - 1466 Words

Unnatural Causes: Is Inequality Making us Sick, clearly explored the relationship between socioeconomic status and health, it was said that college graduates live 2.5 years longer than high school graduates† (California Newsreel, 2008). This documentary illustrated how one’s level of education not only impacts their quality of life, but also impacts the duration of one’s life. This video was very surprising, instructive, informative, depressing and occasionally infuriating. I have always known that there were a lot of factors that influence ones health, but I had never really expected it to be this disturbing reality. The video presents a lot of surprising information with any luck individuals will ask themselves serious questions like I did. Optimistically, after seen the video people can account to the things that need to be addressed in order to eliminate this factors and not be eager to judge a set of group of individuals. It was very astonishing to see in the video of Unnatural Causes it resonated to that inequality and racism are not just abstract concepts but in actuality it hospitalized and cause infant mortality even more than cigarettes. According to the video inequality, racism, poverty, and economic deprivation are adversely affecting the health of African Americans. Our nation has a choice: We can address the racial and economic equalities that lead us down the path to this disease now. Or we can pay to repair the bodies later. Unnatural Causes explores aShow MoreRelatedHealth Is Not Determined Solely By Genetics1493 Words   |  6 Pagesindividuals to whom people consult when illness strikes and care is needed; however, few associate these doctors with issues thought to be outside the realm of medicine’s teachings, such as politics, social services and economics. Unnatural Causes: Is Inequality Making Us Sick? (2008) highlights the point that good health of their patients, the ultima te goal of any physician, depends on more than just medical care. It further encourages the public and especially doctors to incite reform for a plethoraRead MoreIs Equality Making Us Sick1858 Words   |  8 Pagesor call me absurd? A recent documentary called â€Å"Is Equality Making Us Sick† takes a strong argument to show that the life you grow up in or even build for yourself can determine such a factor that seems only fitting for God to decide. This factor is called social determinants of health, meaning that based on your access to income and education this will help determine your life span (Unnatural causes). Social, as well as income inequality will be what puts you on your death bed faster or slower andRead MoreEssay about Social Class and Public Health: Determining Your Health1336 Words   |  6 Pagesdeath. Crowding, such as in ghettos and low income projects, creates an unnecessary closeness of people in a community. Therefore we see an increase in the spread of infectious diseases because human to human contact is inevitable. For instance, in the US controlled Marshall Islands has a population of over 10,000 people living in an area smaller than Manhattan. Tuberculosis runs rampant there and is often times left unchecked due to the lack of personal space in conjunction with poor sanitary conditionsRead MoreUnnatural Causes Essay1061 Words   |  5 Pagesthis brings rise to the question: why are Americans so sick? One can conclude that this must simply be related to individual health behaviors and choices. But is that really it? Do we just choose not to be healthy? Upon further investigation it is determined that this is far from true. Although it may be true for some, one cannot deem an entire countries health status as unsatisfactory by just the few. â€Å"Unnatural Causes: Is Inequality Making us Sick (Episode 1: In Sickness and In Wealth),† a reputableRead MoreSocial Influences And Class Structure Affect People s Health1814 W ords   |  8 Pagesladder have worse health than those who have more money. In essence, inequality in society is making people sick. For example, the United States is a country that has very wealthy people along with a staggering amount of poor individuals, yet it is one of the richest countries in the world. It is clear that there is a widening gap of inequality in America, and according to the film Unnatural Causes: Is Inequality Making Us Sick? (2008), the United States spends $2 trillion per year on medical careRead MoreBeverly Daniel Tatum Ph.D. Is An Expert On Race Relations1258 Words   |  6 Pagesracial segregation within the corporate world or work force. This made me think back to session six, where I learned about the effects SES can have on health affects, specifically ethnic. As we know any job can be stressful, but I learned that those making the lower income or in lower positions have a much more stressful work life even compared to someone as high up as a directo r of a huge hospital. This is overall detrimental to their health. In point, Tatum describes the segregation within the corporateRead MoreEtiological Causes Of Death s Poor Diets And Inactivity1755 Words   |  8 PagesAlice Sekimonyo HLTH 3105 Dr Piper I have learned that etiological causes of death are not diseases but they are what make us sick in the first place. Good examples of etiological causes of death incudes poor diets and inactivity. An epidemiological scientific study of racism classified racism as being an etiological factor for diseases and injuries. Since then, many others researches have been focused on its measurement and how racism plays a major role in health disparities. Despite the lack ofRead MoreJack Kevorkian and Euthanasia3902 Words   |  16 Pageslife, but do they have the right to choose to end their life at their discretion is the question (Macionis, 2009). Euthanasia, also called â€Å"mercy killing,† dated back to 1869, is the act or practice of killing or permitting the death of hopelessly sick or injured individuals in a relatively painless way for reasons of mercy (Merriam-Webster, 2010). Euthanasia is an ethical dilemma because it is both an act of kindness and an act of harm. The desire to have euthanasia legalized varies from doctorRead MoreWill India Become a Superpower?11373 Words   |  46 Pagesdonon taraf se dabaav hai aur hum beech mein pis gaye. It sounds far tamer in English—pressured from both sides, here we are, squeezed in the middle. Salwa Judum is a model of how not to fight left-wing extremism. The menace of Naxalism—and let us be clear about this, it is a menace—can be tamed and tackled in two ways: by prompt and efficient policing, and by providing the tribals a greater share in political power and in the fruits of economic development. Unhappily, even tragically, the tribalsRead MoreOrganisational Theory230255 Words   |  922 Pagesengages in an imaginative way with a wealth of organizational concepts and theories as well as provides insightful examples from the practical world of organizations. The authors’ sound scholarship and transparent style of writing set the book apart, making it an ingenious read which invites reflexivity, criticalness and plurality of opinion from the audience. This is a book that will become a classic in organization studies. Mihaela L. Kelemen, Professor of Management Studies, Keele University, UK An

Animal Farm and the Questions Underlying It Free Essays

Identify Old Major, Boxer, Clover, Benjamin and Mollie. Old Major was an old pig. He began the whole idea of the revolution. We will write a custom essay sample on Animal Farm and the Questions Underlying It or any similar topic only for you Order Now Boxer was a huge and strong horse, not very smart but was nice. Clover the female horse she is Boxers faithful companion. Benjamin was a donkey, the oldest animal on the farm. He was skeptical, cynical, and never laughed. Mollie was foolish and liked sugar and ribbons. 2. For what purpose did Major call the meeting of the animals? He wanted to tell them about his dreams of a happier time for animals, a time when the animals can live together and have a much better life without Man. 3. After they vote and decide rats are comrades, Major summarizes his points for the animals to remember. What are they? Whatever goes upon two legs is an enemy. Whatever goes upon four legs, or has wings, is a friend. 4. What is â€Å"Beasts of England†? For what does it stand? Beasts of England is the song of the revolution. It stands for the hopes and dreams of the animals for having a better life. 5. Why did the pigs get the job of teaching and organizing? They were smartest of the farm. 6. Identify Snowball, Napoleon, Squealer and Moses. Napoleon was not much of a talker but had a reputation for getting his own way. Snowball was quicker in his speech , but was not considered to have the same depth of character. Squealer was a good talker. Moses was a tame raven who told the animals about Sugarcandy Mountain. 7. What actually brought about the rebellion? The animals were hungry and broke in to get food. When Jones tried to stop them, they didn’t listen. 8. What were the Seven Commandments? 1. Whatever goes upon two legs is an enemy. 2. Whatever goes upon four legs, or has wings, is a friend. 3. No animal shall wear clothes. 4. No animal shall sleep in a bed. 5. No animal shall drink alcohol. 6. No animal shall kill any other animal. 7. All animals are equal. 9. Who gained leadership of the animals? Why? The pigs gained leadership because they were the smartest and showed more leadership. 10. Describe the animals’ flag. The flag was green for the green fields of England. It had a white hoof and horn on it. 11. What happened to the milk and apples? How did Squealer rationalize that? The pigs were eating the milk and apples. They used it for brain food. Chapters 4 – 6 1. What was the Battle of the Cowshed? Jones and the other farmers came with sticks and guns to retake the farm. Snowball knew it was going to happen. 2. What was Snowball’s role in the Battle of the Cowshed? Snowball’s role was one of leadership. He bravely fought with the animals. 3. Describe the relationship between Napoleon and Snowball. Napoleon and Snowball always disagree. 4. What topic divided the animals? Which pig was for and which was against? The topic of building the windmill divided the animals. Napoleon was against it Snowball wanted it. 5. How did Napoleon get rid of Snowball and gain full control of the animals? He had secretly been raising the nine puppies as guard dogs for himself. The dogs ran Snowball off the farm. 6. What changes did Napoleon make first? He ruled that choices would be made by the pigs. 7. How did Squealer justify Napoleon’s take-over to the others? He said that Napoleon had taken on extra responsibility, that he wouldn’t want the animals to make the wrong decisions, and that loyalty and obedience were more important than bravery, so Napoleon was better. 8. What two maxims did Boxer adopt? â€Å"Napoleon is always right. † â€Å"I will work harder. † 9. Why did Napoleon in fact change his mind and decide to have the animals build the windmill? If the animals were busy on a project, they would have less time and energy to think about how miserable their lives were and would be therefore less likely to revolt against his authority. 0. For what purpose did Napoleon begin trading? He wanted to get money to buy the items the animals needed. 11. Why did the pigs say they had to move into the house? They needed a quiet place to work. 12. Who did Napoleon blame for the windmill disaster? Why? He blamed Snowball. Chapters 7 – 8 1. Why did the hens have to give up their eggs? Napoleon needed to sell to get money for food for the animals. 2. How has Snowball’s role been changed by the end of Chapter 6? Napoleon and Squealer have convinced the animals that Snowball had been in with the humans against the animals from the start. 3. Why did Napoleon begin executing animals? He threatened the animals so they wouldn’t rebel against him. 4. Whom did Boxer blame for the executions? What was his solution? He said, â€Å"It must be due to some fault in ourselves. † 5. Why did the animals sing the â€Å"Beasts of England† song slowly and mournfully as they were gathered on the knoll? Life on the farm was not as they had hoped it would be when the revolution began. 6. Why was the singing of â€Å"Beasts of England† banned? Napoleon said that it was no longer needed because the revolution was over, but the real reason was because it reminded the animals of the revolution. 7. In what ways has Napoleon set himself apart from the other animals? He had titles like Our Leader, Comrade Napoleon , also because he lived separately. 8. How did Frederick cheat Napoleon? The bank notes with which he paid Napoleon for timber were forged. 9. What moved the animals to attack Frederick and his men at the Battle of the Windmill? The men blew up the animals windmill. 10. Why was Comrade Napoleon â€Å"dying†? The pigs had found the farmer’s whiskey, and Napoleon drank a lot. Chapters 9 – 10 1. What special treatment did pigs and piglets get? They received a special education, the piglets couldn’t play with other animals. . What happened to Boxer? Boxer was seriously injured. Napoleon said he would send boxer to the hospital but he sold him instead. 3. The animals on the farm worked hard. What was their consolation? Their consolation was that they were not working for man. 4. What was Clover startled to discover? She saw a pig walking on its hi nd legs. 5. What commandment took the place of the Seven Commandments? â€Å"All animals are equal, but some animals are more equal than others. † 6. What did the other animals see when they looked in to the farmhouse? They saw the pigs in helpingthe humans. How to cite Animal Farm and the Questions Underlying It, Papers

Squash Origins and Effects on the New and Old World free essay sample

They were referred as sister crops because maize created a supporting structure for bean vines to climb, while the bean rooted the corn to the ground, and provided nitrates for all three sister crops. Squash kept out weeds, moisturized the soil, and kept insects and animals away with prickly stems. Squash are generally split into two varieties, one being winter squashes and summer squashes. The summer variety was grown and used generally throughout the Americas by the Native Americans as a staple part of their diet, and they had edible soft rinds. The winter variety originates from northern Argentina in the Andes, and had a tough and strong rind. The winter variety was used as a food source during the winter, as they could be stored throughout the winter, and were especially important to the Wampanoag Indians. Impact on the New World In the beginning settlers did not appreciate squash. It was until that settlers realized that squash could be stored during the winter without much care, that they started to appreciate it more. We will write a custom essay sample on Squash Origins and Effects on the New and Old World or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Because squash made it possible for the harsh winters to be survivable it slowly became part of their staple diets. For example, one of the reasons why the pilgrims were able to survive through their first few years was because they were taught by neighboring Native Americans how to raise and cultivate squash and maize, which allowed them to have food for the winter and make it through without starving. Winter varieties were also used as storage containers as their hard rinds provided a good container. Winter squash was generally baked and softened with syrup or animal fat, and they were also stuffed with various food products and baked. Impact on the Old World Spain mainly brought back crops from the New World and introduced a variety of new crops most of which were slightly looked down upon such as tomatoes, potatoes, being part of the nightshade family. Squash was generally accepted because of their resemblance to cucurbits that were used by the Romans. Though they were accepted, they weren’t very popular in northern Europe as they did not thrive well in short wet European summers. In southern parts of Europe such as Italy they thrived very well and became a staple part of diet. Overall squash did not leave much of an impact in Europe neither was it dramatically important like other crops such as potatoes. Work Cited Page Essortment. N. p. , n. d. Web. 23 May 2013. Squash Named from an Indian Word | Archives | Aggie Horticulture. Â  Squash Named from an Indian Word | Archives | Aggie Horticulture. N. p. , n. d. Web. 23 May 2013. How Did the Squash Get Its Name? Â  How Did the Squash Get Its Name? Everyday Mysteries: Fun Science Facts from the Library of Congress. N. p. , n. d. Web. 23 May 2013 Columbian Exchange. Â  Enotes. com. Enotes. com, n. d. Web. 23 May 2013. O Say Can You See? Â  O Say Can You See? Â  N. p. , n. d. Web. 23 May 2013.

American Music essays

American Music essays This book is an in-depth look at contemporary American popular music and the kind of musicianship that is appropriate to it. Stith attempts to explain dynamics of rock musicians by studying how the skills, ideas, and human identities associated with this population manage to be created and transmitted in the context of industrialized culture. In addition, he is trying to examine how musicians begin to take on and are characterized by that identity. Stith is interested with this phenomenon because these people were not successful or had not received a record contract, yet their identities remained intact. Stith gathered his data through six years of sporadic field study throughout Colorado, Illinois, Washington, California, Missouri, and southern France. He used both observational and interview methods in his study, however, it was participant observation that was used as a primary data-gathering technique. He presented himself as a musician and indicated in some form that he was interested in forming a group. At times he presented himself as a performer, other times as a role organizer, yet never hiding the fact that he was involved in social research. His secondary data-gathering technique was that he conducted several informal interviews with several members of these rock groups that he was associated with. These interviews were conducted during down-times, usually times where the group was hanging out, eating, traveling, etcetera. The size of the sample Stith studied and the ways in which the data-gathering techniques were administered differed from group to group, usually because his role within the population wasnt always constant. The interview questions that were asked were hardly ever uniform, they were administered differently to suit different individuals in specific situations. ...

How to Write a Perfect Truck Driver Resume (With Examples)

How to Write a Perfect Truck Driver Resume (With Examples) Whether you’re a veteran of the open road or someone who feels the freedom and independence of driving for a living calling to you, there’s no denying the appeal of a career in trucking and logistics. If you have a clean driving record and don’t mind spending most of your days with mostly the radio for company, it’s a great field. Let’s look at the truck driver resume for people in the trucking industry. One is just starting out, another has been on the road for a while, and the third is a trucker looking to trade in the keys for the next step up: a managerial position in the logistics industry.1.CDL Certified Truck Driver Resume2.Experienced Truck Driver  Resume3.Driver  Manager ResumeFirst up is Barbara. She’s a newly certified commercial driver, looking to trade in her local delivery experience (pizza and packages) for bigger cargo.Download This Resume in MS WordBarbara Jones 765 Garden Street Pawnee, IN 34343 BarbJ@emaildomain.com (77 7) 444s)How to Write a Perfect Occupational Therapist ResumeHow to Write a Perfect Physician Assistant Resume (Examples Included)How to Write a Perfect Receptionist Resume (Examples Included)How to Create a Perfect Retail ResumeHow to Write a Perfect Sales Associate Resume (Examples Included)How to Write a Perfect Social Worker Resume (Examples Included)How to Write a Perfect Truck Driver Resume (With Examples)

Movie Analysis Essay Example | Topics and Well Written Essays - 500 words - 2

Movie Analysis - Essay Example In the film, juror 8 made a statement that it is possible and not probable that the boy is the killer (Sidney, 12 Angry Men). Juror 8 uses this to justify the innocence of the boy because they are all not certain that the boy is guilty. Juror 8 makes this decision based on reasoning. Flaws in human perception can affect areas of knowledge, thus affect or even change people’s beliefs. In the film, juror 4 believes that despite the fact that there was no evidence proving that the boy was guilty, presence of an eyewitness who saw the incident is indisputable evidence that makes the boy guilty. At this point, juror 4 drew from personal experiences and used deductive reasoning to make statements that make him believe that the boy is guilty. However, the juror’s perception was flawed because he did not realize smaller details. It is clear that small flaws in our perception can affect our beliefs and thus, our judgment. Juror 10 had a perception that people from the slums comm it crimes. Juror 10 perception and beliefs towards people from the slums clouded his judgment making him believe that the boy was guilty. Emotion and perception can mold or even alter a person’s beliefs in a certain way. The emotions, reasoning, and perceptions of the 11 jurors forced them to believe that the boy was guilty (Sidney, 12 Angry Men). Some of these perceptions are based on personal experiences while other depended on logic and personal reasoning. The effect of reasoning and perception depicted in the film 12 Angry Men is also evident in our everyday lives. The issue about the potentials and abilities of people with disability has been met with many misinterpretations due to varying people’s perceptions and beliefs towards such people. People who are not exposed to individuals with disabilities often perceive that these persons are weaker compared to other people.

Death Penalty in the United States Assignment Example | Topics and Well Written Essays - 1000 words

Death Penalty in the United States - Assignment Example Bessler argues, throughout the book, that the American death penalty is not only cruel but also unusual. Bessler claims that the United States’ persistence with the death penalty is simply an escapist measure to avoid dealing with its socioeconomic problems. This article is one of the most intriguing and critical pieces of the American judicial system and death penalty. Boys, a recognized authority on criminology, contends that the death penalty is a retrogressive policy that the country would be better off without. Boys also compare America’s stand on the death penalty to other countries’ citing the fact that it is one of the few world powers that still practice this ‘draconian† policy that is an inhumane solution to managing crime. Brown begins his article by stating that the United States is lagging behind most countries in the world when it comes to the death penalty. In an era in which most countries are abolishing the death penalty, America is still using capital punishment as an excuse for mitigating social and economic problems. Brown also states that the death penalty is a policy that the United States should leave in the age of the founding fathers. In this thought-provoking book, Deger delivers a critical take on capital punishment in the United States and Great Britain. In America, Deger delves into the history and evolution of the death penalty to date, and its impact on American society. Deger argues that the death penalty is nothing more than a blatant disregard for human life that is perpetuated by a fear of change. Lyon begins his book with a discussion of the history of capital punishment in the United States and then delves into an examination of the reasons the death penalty is a constant in the judicial system of most US states.

TV shows and commercials' problems and effect to children Lab Report

TV shows and commercials' problems and effect to children - Lab Report Example This "TV shows and commercials' problems and effect to children" essay outlines ten different TV shows, analyzes their impact on kids and values they teach to them. SpongeBob SquarePants: this is one of the American television shows that are popular in the modern television series. It is largely watched amongst the children population. It is also interesting to adults due to its enthusiastic plot. It presents some unique set up in regard to life far from the terrestrial environment. The fact that it is presented in form of cartoons makes it entertaining for the children. However, there are various gaffes associated with the language used, situations as well as the language that is used in the presentations. There are particular innuendos that tend to be above the understanding of the young viewers. In the presentations, the advertisements are usually targeted at the children, such as t-shirts, boxer-shorts and other commodities that are suitable for children such as delicious foods. The show is valuable to the children since it promotes courageousness and the desire to explore life under the water. Sesame Street: this is a TV show that significantly impacts on the lives of children in regard to their learning capability. Its entertainment aspect makes it attractive to children, which has made its theme a success amongst them. The puppets and animations are stimulating, coupled with talented actors who make the show very interesting. The aspect of familiarizing with letters and words is usually helpful in regard to improvement of learning.

Sexually Transmitted Diseases (STD) Prevention Strategies

Sexually Transmitted Diseases (STD) Prevention Strategies Until the 1990s, STDs were commonly known as venereal diseases: Veneris is the Latin genitive form of the name Venus, the Roman goddess of love. Social disease was another euphemism. Public health officials originally introduced the term sexually transmitted infection, which clinicians are increasingly using alongside the term sexually transmitted disease in order to distinguish it from the former. According to the Ethiopian Aids Resource Center FAQ, Sometimes the terms STI and STD are used interchangeably. This can be confusing and not always accurate, so it helps first to understand the difference between infection and disease. Infection simply means that a germ-virus, bacteria, or parasite-that can cause disease or sickness is present inside a persons body. An infected person does not necessarily have any symptoms or signs that the virus or bacteria is actually hurting his or her body; they do not necessarily feel sick. A disease means that the infection is actually causing the in fected person to feel sick, or to notice something is wrong. For this reason, the term STI which refers to infection with any germ that can cause an STD, even if the infected person has no symptoms-is a much broader term than STD. The distinction being made, however, is closer to that between a colonization snd an infection, rather than between an infection and a disease. Specifically, the term STD refers only to infections that are causing symptoms. Because most of the time people do not know that they are infected with an STD until they start showing symptoms of disease, most people use the term STD, even though the term STI is also appropriate in many cases. Moreover, the term sexually transmissible disease is sometimes used since it is less restrictive in consideration of other factors or means of transmission. For instance, meningitis is transmissible by means of sexual contact but is not labeled as an STI because sexual contact is not the primary vector for the pathogens that cause meningitis. This discrepancy is addressed by the probability of infection by means other than sexual contact. In general, an STI is an infection that has a negligible probability of transmission by means other than sexual contact, but has a realistic means of transmission by sexual contact (more sophisticated means-blood transfusion, sharing of hypodermic needles-are not taken into account). Thus, one may presume that, if a person is infected with an STI, e.g., chlamydia, gonorrhea, genital herpes, it was transmitted to him/her by means of sexual contact. The diseases on this list are most commonly transmitted solely by sexual activity. Many infectious diseases, including the common cold, influenza, pneumonia, and most others that are transmitted person-to-person can also be transmitted during sexual contact, if one person is infected, due to the close contact involved. However, even though these diseases may be transmitted during sex, they are not considered STDs. Primary STD Bacterial Chancroid Granuloma inguinale or (Klebsiella granulomati) Gonorrhea (Neisseria gonorrhoeae) Syphilis (Treponema pallidum) Fungal Tinea cruris, jock itch, may be sexually transmitted. Candidiasis, yeast infection Viral Viral hepatitis (Hepatitis B virus)-saliva, venereal fluids. (Note: Hepatitis A and Hepatitis E are transmitted via the fecal-oral route; Hepatitis C (liver cancer) is rarely sexually transmittable and the route of transmission of Hepatitis D (only if infected with B) is uncertain, but may include sexual transmission.) Herpes simplex (Herpes simplex virus 1, 2) skin and mucosal, transmissible with or without visible blisters HIV/ AIDS (Human Immunodeficiency Virus)- venereal flu. HPV (Human Papilloma Virus)- skin and mucosal contact. High risk types of HPV are known to cause most types of cervical cancer, as well as well as anal, penile and genital warts.. Molluscum contagiosum (molluscum contagiosum virus MCV)-close contact Parasites Crab louse, colloquially known as crabs or pubic lice (Phthirius pubis) Scabies (Sarcoptes scabi) Protozoal Trichomoniasis (Trichomonas vaginalis) Sexually transmissible enteric infections Bacterial Shigella Campylobacter Salmonella Viral Hepatitis A Protozoan (parasitic) Giardia Cryptosporidiosis Above pathogens are transmitted by sexual practices that promote anal-oral contamination (fecal-oral). Sharing sex toys without washing or multiple partnered barebacking can promote anal-anal contamination. Although the bacterial pathogens may coexist with or cause proctitis, they usually produce symptoms (diarrhea, fever, bloating, nausea, and abdominal pain) suggesting disease more proximal in the GI tract. These diseases can cause various forms of cancer long term, malnutrition, and weight loss. For immuno-compromised individuals (such as with HIV), these infections can often cause severe weight loss, weakness, and death. Cryptosporidium is the organism most commonly isolated in HIV positive patients presenting with diarrhea. Pathophysiology Many STDs are (more easily) transmitted through the mucous membranes of the penis, vulva, rectum, urinary tract and (less often-depending on type of infection) the mouth, throat, respiratory tract and eyes. The visible membrane covering the head of the penis is a mucous membrane, though it produces no mucus (similar to the lips of the mouth). Mucous membranes differ from skin in that they allow certain pathogens into the body. Pathogens are also able to pass through breaks or abrasions of the skin, even minute ones. The shaft of the penis is particularly susceptible due to the friction caused during penetrative sex. The primary sources of infection in ascending order are venereal fluids, saliva, mucosal or skin (particularly the penis), infections may also be transmitted from feces, urine and sweat. The amount required to cause infection varies with each pathogen but is always less than you can see with the naked eye. This is one reason that the probability of transmitting many infections is far higher from sex than by more casual means of transmission, such as non-sexual contact-touching, hugging, shaking hands-but it is not the only reason. Although mucous membranes exist in the mouth as in the genitals, many STIs seem to be easier to transmit through oral sex than through deep kissing. According to a safe sex chart, many infections that are easily transmitted from the mouth to the genitals or from the genitals to the mouth, are much harder to transmit from one mouth to another. With HIV, genital fluids happen to contain much more of the pathogen than saliva. Some infections labeled as STIs can be transmitted by direct skin contact. Herpes simplex and HPV are both examples. KSHV, on the other hand, may be transmitted by deep-kissing but also when saliva is used as a sexual lubricant. Depending on the STD, a person may still be able to spread the infection if no signs of disease are present. For example, a person is much more likely to spread herpes infection when blisters are present (STD) than when they are absent (STI). However, a person can spread HIV infection (STI) at any time, even if he/she has not developed symptoms of AIDS (STD). All sexual behaviors that involve contact with the bodily fluids of another person should be considered to contain some risk of transmission of sexually transmitted diseases. Most attention has focused on controlling HIV, which causes AIDS, but each STD presents a different situation. As may be noted from the name, sexually transmitted diseases are transmitted from one person to another by certain sexual activities rather than being actually caused by those sexual activities. Bacteria, funia, protozoa or viruses are still the causative agents. It is not possible to catch any sexually transmitted disease from a sexual activity with a person who is not carrying a disease; conversely, a person who has an STD got it from contact (sexual or otherwise) with someone who had it, or his/her bodily fluids. Some STDs such as HIV can be transmitted from mother to child either during pregnancy or breastfeeding. Although the likelihood of transmitting various diseases by various sexual activities varies a great deal, in general, all sexual activities between two (or more) people should be considered as being a two-way route for the transmission of STDs, i.e., giving or receiving are both risky although receiving carries a higher risk. Healthcare professionals suggest safer sex, such as the use of condoms, as the most reliable way of decreasing the risk of contracting sexually transmitted diseases during sexual activity, but safer sex should by no means be considered an absolute safeguard. The transfer of and exposure to bodily fluids, such as blood transfusions and other blood products, sharing injection needles, needle-stick injuries (when medical staff are inadvertently jabbed or pricked with needles during medical procedures), sharing tattoo needles, and childbirth are other avenues of transmission. These different means put certain groups, such as medical workers, and haemophiliacs and drug users, particularly at risk. Recent epidemiological studies have investigated the networks that are defined by sexual relationships between individuals, and discovered that the properties of sexual networks are crucial to the spread of sexually transmitted diseases. In particular, assortative mixing between people with large numbers of sexual partners seems to be an important factor. It is possible to be an asymptomatic carrier of sexually transmitted diseases. In particular, sexually transmitted diseases in women often cause the serious condition of pelvic inflammatory disease. Prevention Main article: Safe sex Prevention is key in addressing incurable STIs, such as HIV herpes. The most effective way to prevent sexual transmission of STIs is to avoid contact of body parts or fluids which can lead to transfer with an infected partner. No contact minimizes risk. Not all sexual activities involve contact: cybersex, phonesex or masturbation from a distance are methods of avoiding contact. Proper use of condoms reduces contact and risk. Although a condom is effective in limiting exposure, some disease transmission may occur even with a condom. Ideally, both partners should get tested for STIs before initiating sexual contact, or before resuming contact if a partner engaged in contact with someone else. Many infections are not detectable immediately after exposure, so enough time must be allowed between possible exposures and testing for the tests to be accurate. Certain STIs, particularly certain persistent viruses like HPV, may be impossible to detect with current medical procedures. Many diseases that establish permanent infections can so occupy the immune system that other diseases become more easily transmitted. The innate immune system led by defensins against HIV can prevent transmission of HIV when viral counts are very low, but if busy with other viruses or overwhelmed, HIV can establish itself. Certain viral STIs also greatly increase the risk of death for HIV infected patients. Vaccines Vaccines are available that protect against some viral STIs, such as Hepatitis B and some types of HPV. Vaccination before initiation of sexual contact is advised to assure maximal protection. Condoms Condoms only provide protection when used properly as a barrier, and only to and from the area that it covers. Uncovered areas are still susceptible to many STDs. In the case of HIV, sexual transmission routes almost always involve the penis, as HIV cannot spread through unbroken skin, thus properly shielding the insertive penis with a properly worn condom from the vagina and anus effectively stops HIV transmission. An infected fluid to broken skin borne direct transmission of HIV would not be considered sexually transmitted, but can still theoretically occur during sexual contact, this can be avoided simply by not engaging in sexual contact when having open bleeding wounds. Other STDs, even viral infections, can be prevented with the use of latex condoms as a barrier. Some microorganisms and viruses are small enough to pass through the pores in natural skin condoms, but are still too large to pass through latex condoms. Proper usage entails: Not putting the condom on too tight at the end, and leaving 1.5 cm (3/4 inch) room at the tip for ejaculation. Putting the condom on snug can and often does lead to failure. Wearing a condom too loose can defeat the barrier. Avoiding inverting, spilling a condom once worn, whether it has ejaculate in it or not, even for a second. Avoiding condoms made of substances other than latex or polyurethane, as they dont protect against HIV. Avoiding the use of oil based lubricants (or anything with oil in it) with latex condoms, as oil can eat holes into them. Using flavored condoms for oral sex only, as the sugar in the flavoring can lead to yeast infections if used to penetrate. Not following the first five guidelines above perpetuates the common misconception that condoms arent tested or designed properly. In order to best protect oneself and the partner from STIs, the old condom and its contents should be assumed to be still infectious. Therefore the old condom must be properly disposed of. A new condom should be used for each act of intercourse, as multiple usage increases the chance of breakage, defeating the primary purpose as a barrier

Bilingual Education: Social Justice for All Essay -- Argumentative Per

  Ã‚  Ã‚   To be honest, I didn't know very much about the legal status and specific methods involved in bilingual education. Researching bilingual education helped me develop a broad understanding of the controversy and sufficient knowledge to be able to defend which method I think is the most effective. The biggest challenge in presenting my argument was focusing on a topic, because bilingual education is a broad topic with many ramifications. After considering many possible angles, I finally chose to write about two-way bilingual education because it is an effective method that has not been implemented very frequently in the educational system. The front doors of Chamberlain Elementary School in Goshen, Indiana are plastered with advertisements for GED courses for Spanish speakers and bilingual memos reminding parents of the upcoming parent-teacher conferences. Colorful posters in either Spanish or English, with the corresponding translation posted alongside them, deck the hallways. Over a third of the student body belongs to a linguistic minority group, with Spanish being by far the most common language. Thus, Chamberlain administrators and teachers face the daily challenge of meeting the needs of a diverse student body within the context of an English-speaking public institution. The school is well known throughout the area for its efforts in embracing diversity, projecting itself as a multicultural institution, and connecting with families regardless of their cultural background. However, in meeting the linguistic needs of its diverse population, Chamberlain falls sadly short. Volunteers or trained teachers pull students out of their classrooms for a brief lesson each day in English as a Second Language (ESL). Language minor... ...eadership (Dec.99-Jan.00): 62-67. Porter Pedalino, Rosalie. "The Benefits of English Immersion." Educational Leadership (Dec.99-Jan.00): 52-56. Quezada, Maria S., Terrence G. Wiley, and J. David Ramirez. "How the Reform Agenda Shortchanges English Learners." Educational Leadership (Dec.99-Jan.00): 57-61. Rippberger, Susan J. "Ideological Shifts in Bilingual Education." Comparative Educational Review (Feb.93): 50-61. Rodriguez, Roberto. "The Politics of Language." Hispanic (Apr.96): 53. Rothstein, Richard. "Bilingual Education: The Controversy." Phi Delta Kappan (May 98): 672-678. Thomas, Wayne P., and Virginia P. Collier. "Accelerated Schooling for English Language Learners." Educational Leadership (Apr.99): 46-49. Thomas, Wayne P., and Virginia P. Collier. "Two Languages are Better Than One." Educational Leadership (Dec.97-Jan.98): 23-26.

Reply to the forum about rude behavior in the Society Essay

Rudeness is very much prevalent in every aspect of the society. Illiterate people and even those professionals and students are infected by the behavior of rudeness. Often times, rudeness is tolerated that is why instead of eradicating it, situations linked to it only get worse. It is slowly becoming a trend but of course, not all trends are good and should be followed. The factors that were given in the post do influence the spread of rudeness. These factors from the environment weaken the foundation of a person’s good character. Aside from the elements of a busy and secluded lifestyle and broken families, more factors that trigger rudeness include the media, technology and lack of moral obligation. The media takes part on catering thoughts of rudeness to the societies. A celebrity who has bad behavior and got away with it is one illustration that rudeness can be considered as a so-so action. Thus, there is lack of moral obligation in every wrong action that was done. The technology provides materials of rudeness through videos or simple pranks on a television show. Lack of moral obligation is also related to an environment of a broken family. If there is no discipline at home, the child or the teenager can adopt the same behavior when he is at school. For example, if the child is impatient, he cannot wait in line when at the school canteen. Hence, he will show behavior of irritability and may go in front of the line instead of waiting for his turn. Slight rudeness can be treated as poor etiquette. Still, it is classified under the category of rudeness. Instances of poor etiquettes will surely develop into rudeness. On the other hand, there is the question on whether rudeness is dependent on how the person handles its influences. A person can be exposed to negative influences but can still manage to have a good behavior. In order to do that, he must have a strong core of values that can help him ward off the factors of rudeness. As for someone who is already rude, there is always the possibility that he will learn his lessons, probably the hard way to realize that rudeness is not acceptable in the society. References: DBSR. (2009, December 10). Why Have We Evolved Into Such a Rude Society?. Retrieved May 24, 2010, from http://dontbesorude. com/2009/12/why-have-we-evolved-into-such-a- rude- society/

An Investigation of the Eddy Currents Essays

An Investigation of the Eddy Currents Essays An Investigation of the Eddy Currents Essay An Investigation of the Eddy Currents Essay An Eddy Current is a closed cringle current that flows in a music director. They are created when a music director s magnetic field is exposed to alter, normally when the music director comes in contact with another magnetic field or when a stationary object enters the music director s magnetic field. These currents circulate and create electromagnets with magnetic Fieldss that will oppose the alteration in the external magnetic field. In other words, the eddy current will be created in the opposite way of the field s motion. Eddy Currents are used for electromagnetic braking in trains and roller coasters as they both travel at a really high degree of inertia therefore doing it hard for them to safely interrupt or hold gesture. In a train, electromagnets placed near to the metal rails induce Eddy currents which so produce magnetic Fieldss within the tracks. The interaction between the magnetic Fieldss opposes the forward gesture of the electromagnets and the train which consequences in the slowing of the train because the strength of the induced Eddy currents is straight relative to the velocity of the train therefore the braking force is reduced as the train slows down. In a roller coaster, a Cu home base is attached to the drive passenger car. As the drive passes between lasting strong magnets attached near the underside of the path, eddy currents are created every bit good as opposite magnetic poles in the Cu home base and magnets. The corporate consequence of interaction between the lasting magnets and Cu home base slows the drive ; because like the train the strength of the eddy currents within the home base is straight relative to the velocity of the home base traveling between the magnetic poles therefore as the drive slows the braking force is reduced. Advantage of Magnetic Braking Mechanisms Virtually fail safe as it relies on the basic belongingss of magnetic attraction and is non affected by assorted elements such as rain like clash brakes. No mechanical wear and tear, hence there is no demand to replace Produces a precise breakage force Purpose: To find if the type of stuff and the thickness of stuff has an consequence on the braking force of an object. Through the usage of electromagnets, the experiment will besides find if eddy currents have a direct impact on the braking force of an object. Hypothesis: Newton s 2nd jurisprudence provinces that the force applied to an object produces a relative acceleration. From the experiment, the braking force created by eddy currents will hold a direct impact on the slowing of a pendulum in gesture. As Cu has a lower electric resistance, it should hold the greatest braking force as the Eddy currents will hold a greater impact on the gesture of the Cu pendulum. Brass has a high electric resistance ; therefore it should hold a much lower braking force caused by the eddy currents. The thicker the conductive home base, the greater the braking force. The more conductive a home base is, the greater the eddy currents that will be produced as there is less electric resistance. Variables: Mugwump: Thickness of stuff and Type of stuff Dependent: Rate of Deceleration Equipment: 2 Electromagnets 1 Transformer ( power battalion ) 2 Copper pendulums, varied thickness 2 Aluminium pendulums, varied thickness 2 Brass pendulums, varied thickness Connecting wires Video Camera Compass Supporting Frame Plastic tube Safety: Ensure transformer ( power battalion ) is turned off when circuit is being connected Method: Measure the thickness of each pendulum utilizing a screw pot, so weigh the pendulum. Record the thickness and weight of each pendulum. Position the supporting frame and plastic tube on the axel of where the pendulum will hang ( so that the pendulum does non travel back and Forth ) and connect electromagnets in series utilizing the power battalion, linking wires and electromagnets. ( Fig. 1.1 ) Note that electromagnets must hold opposite poles in order for magnetic force to be present. Test the poles by utilizing a compass. Voltage: 8 V Current: 0.1 ma Attach pendulum 1 to back uping frame. Turn off magnet and pull pendulum up to specific tallness. Record the gesture of the pendulum upon release utilizing the picture camera. Let go of the pendulum. Observe until the pendulum comes to a stationary place. Stop picture recording. Repeat procedure 5-7 this clip with the electromagnet on. Attach pendulum 2 to back uping frame. Repeat steps 5-9 until all pendulums have been used in the experiment ( 2 Cu, 2 aluminum, 2 brass all varied thickness ) Input each picture into tracker. Using tracker, find the initial and concluding speed of each pendulum swing. Calculate acceleration and Braking Force utilizing speed consequences obtained from tracker. To obtain the consequences from the experiment, tracker had to be used to happen points needed to cipher the initial speed. To happen the initial speed, we used the expression: m=|y2-y1 | | x2-x1 | To happen the acceleration of the pendulum: a = U_ 0.033s x ( # of frames 5 U ) 0.033 is the rate at which the picture camera captures image To happen the Braking Force of the pendulum: F = m a Consequences Material Electromagnet Thickness ( millimeter ) Weight ( g ) Initial Velocity ( U ) MS? Concluding Velocity ( V ) MS? Acceleration Braking Force ( N ) Copper 1 Magnet 0.15 3.44 0.75 0 -0.0891 -0.307 No Magnet 0.15 3.44 0.4768 0 -0.0387 -0.1331 Copper 2 Magnet 0.55 13.90 0.6871 0 -0.0431 -0.5991 No Magnet 0.55 13.90 0.5755 0 -0.0345 -0.4796 Aluminum 1 Magnet 0.33 1.98 0.8129 0 -0.0622 -0.123 No Magnet 0.33 1.98 0.6753 0 -0.0497 -0.098 Aluminum 2 Magnet 1.63 15.10 0.5957 0 -0.0594 -0.897 No Magnet 1.63 15.10 0.654 0 -0.0452 -0.6825 Brass 1 Magnet 0.14 3.62 2/3 0 -0.0404 -0.1462 No Magnet 0.14 3.62 0.453 0 -0.025 -0.0905 Brass 2 Magnet 0.81 11.74 0.666 0 -0.0412 -0.4837 Anomaly No Magnet 0.81 11.74 0.743 0 -0.0447 -0.5248 Anomaly Interpretation A ; Analysis: Forms, Trends and Discrepancies: Strengths and Failings of attack: Potential Beginnings of Mistake: Measuring the thickness of each pendulum utilizing a prison guard pot Measuring the mass of each pendulum alterations to the original program are identified and justified. Decision: that explains cause-and-effect relationship between dependant and independent variables ; alternate accounts are identified ; hypothesis is supported or rejected. Part 2 Magnetic Induction Research Paper 1. Outline Michael Faraday s find of the coevals of an electric current by a moving magnet. Michael Faraday was an English chemist and physicist best known for his pioneering experiments in electricity and magnetic attraction. In 1785, Charles Coulomb demonstrated how electric charges repel one another. In 1820 Hans Christian Oersted and Andre Marie Ampere discovered that an electric current produces a magnetic field. This led Faraday to believe that since an electric current could make a magnetic field, a magnetic field in bend should be able to bring forth an electric current. This was based on his thoughts about the preservation of energy. In 1831 Faraday demonstrated this through an experiment: He attached two wires through a sliding contact to touch a revolving Cu phonograph record located between the poles of a horseshoe magnet. This set-up was the equivalent of switching a magnetic field near to an electric circuit which in bend induced a uninterrupted direct current. Faraday explained that the traveling disc induced the electric current as it cut a series of lines of magnetic force emanating from the magnetic field. The connecting wires enabled the current to flux in an external circuit. This experiment was the innovation of the first electric generator. 2. Describe the construct of magnetic flux and how it relates to magnetic flux denseness ( B ) and surface country ( A ) . The construct of magnetic flux is a step of the measure of magnetic attraction, taking into history the strength of the magnetic field. Magnetic flux { measured in Webers ( Wb ) } is the sum of magnetic field that is fluxing through a certain country A. This can be represented by the entire figure of magnetic flux lines that pass through country A. This relates to magnetic flux denseness ( B ) { measured in Webers per sq. meter ( Wb m-2 ) } because the stronger the magnetic field in a specific point the higher the magnetic flux denseness ( B ) at that particular point which mean s there are more magnetic flux lines that are go throughing through that country. To cipher the magnetic flux ( entire sum of perpendicular magnetic field go throughing through an country or a surface ( A ) ) : Flux = Flux Density x Area = B x A 3. Outline Lenz s Law and history for Lenz s Law in footings of preservation of energy. Lenz discovered a manner to happen the way of the induced electric currents that were predicted by Faraday s jurisprudence which states that an electric current that is induced by a altering magnetic field will in bend bring on its ain magnetic field. Lenz s jurisprudence states that whenever there is an induced electromotive force ( voltage ) within a music director, it will ever be in a way that the current created will oppose the alteration which causes the induced voltage. This jurisprudence is a effect of the Law of Conservation of Energy which states that in the altering from one signifier to another, energy is ever conserved. For illustration: A current is produced from the interpolation of a magnet into a spiral of wire that is connected to a circuit with a microammeter. The traveling magnet induces an electric current in the wire which so creates its ain magnetic field. In conformity with Lenz s jurisprudence, the created magnetic field must oppose the traveling magnet ( the cause of the magnetic field ) . Thus the magnetic field will be in the way that will seek to halt the moving magnet. Hence it adheres to the Law of Conservation of Energy. If the current did non oppose the traveling magnet, the created magnetic field would so increase the magnet s speed and thereby increase its kinetic energy which bypasses the Law of Conservation of Energy. 4. Sketch how the magnetic initiation is used in cook-tops in electric scopes. Magnetic initiation does non affect bring forthing heat which is so transferred to the cook-top. Alternatively it makes the cook-top itself the heat generator to cook the nutrient. Magnetic Initiation is used in cook-tops in electric scopes through the usage of electricity to bring forth a magnetic field that sends currents into Fe atoms that react by motion which causes clash and heat in a metal vas. How Induction Cooking Works: Electricity powers a spiral ( represented by the ruddy lines ) that in bend produces a high frequence jumping current is passed through the spiral making a fluctuating electromagnetic field ( represented by the orange lines ) . That field penetrates the metal of the ferromagnetic stuff cooking vas and sets up a go arounding electric current, in other words an eddy current, which generates heat. The heat generated in the cook-top is transferred to the cook- tops contents. Nothing outside the cook-top is affected as the eddy currents Fieldss are trapped within the cook-top as it is an electrical dielectric. 5. Discourse the demand for step-up and step-down transformers in the transportation of electrical energy from a power station to its point of usage. Bibliography hypertext transfer protocol: //electricitymagnetism.suite101.com/article.cfm/understanding_lenzs_law hypertext transfer protocol: //www.physlink.com/Education/AskExperts/ae572.cfm hypertext transfer protocol: //en.wikipedia.org/wiki/Eddy_current hypertext transfer protocol: //www.ehow.com/how-does_4964019_eddy-currents-work.html hypertext transfer protocol: //csep10.phys.utk.edu/astr161/lect/history/newton3laws.html hypertext transfer protocol: //www.answers.com/topic/conservation-of-energy hypertext transfer protocol: //www.toolbase.org/Technology-Inventory/Appliances/induction-cooktops hypertext transfer protocol: //theinductionsite.com/how-induction-works.shtml hypertext transfer protocol: //www.phy.hr/~dpaar/fizicari/xfaraday.html

Free Essays on Notes On Fuhrerprinzip

Notes on Fuhrerprinzip Definition: This was a Nazi term referring to the creation of authority from above downward and of responsibility from below upward. It included a cult of the Fuhrer, (leader), which was based on pseudo-Germanic ideas of order, authority and hero-worship. All Nazi organizations became absolutely authoritarian in accordance with this principle. Adaptation to all Nazi Enterprises: A special characteristic of National Socialism was a religious veneration of the leader, a cult of the Fuhrer. This was based on pseudo - Germanic ideas of order, authority, and hero worship, placing the leader and his followers in a military relationship of dominance and obedience. After Hitler became the leader of the National Socialist party in July 1921, its organizational structure became thoroughly authoritarian and defined by this principle. The function of the leadership principle combined the political - charismatic idea, racial criteria, and the bureaucratic - authoritarian concepts of the totalitarian order. The structure of all Nazi organizations, economic enterprises, and social institutions was also adapted to the leadership principle. The principle went on to be implemented outside Germany through the Nazi war policy, with its programs of racial persecution, territorial expansion, and exploitation of "inferior" races. The manifestation of the leadership principle in the organization of political and social life was intended to create a perfect monolithic state governing the extension of power to the lower echelons. Paradoxically, however, in order to achieve the supervisory functions of the totalitarian regime, the machinery of both party and state had to be expanded. This expansion hindered the full implementation of the Fuhrerprinzip. The dramatisation of Fuhrerprinzip in the Nazi cinema, and how history films were used to propagate themes of anti-parliamentarianism and the concept of an individual leader of... Free Essays on Notes On Fuhrerprinzip Free Essays on Notes On Fuhrerprinzip Notes on Fuhrerprinzip Definition: This was a Nazi term referring to the creation of authority from above downward and of responsibility from below upward. It included a cult of the Fuhrer, (leader), which was based on pseudo-Germanic ideas of order, authority and hero-worship. All Nazi organizations became absolutely authoritarian in accordance with this principle. Adaptation to all Nazi Enterprises: A special characteristic of National Socialism was a religious veneration of the leader, a cult of the Fuhrer. This was based on pseudo - Germanic ideas of order, authority, and hero worship, placing the leader and his followers in a military relationship of dominance and obedience. After Hitler became the leader of the National Socialist party in July 1921, its organizational structure became thoroughly authoritarian and defined by this principle. The function of the leadership principle combined the political - charismatic idea, racial criteria, and the bureaucratic - authoritarian concepts of the totalitarian order. The structure of all Nazi organizations, economic enterprises, and social institutions was also adapted to the leadership principle. The principle went on to be implemented outside Germany through the Nazi war policy, with its programs of racial persecution, territorial expansion, and exploitation of "inferior" races. The manifestation of the leadership principle in the organization of political and social life was intended to create a perfect monolithic state governing the extension of power to the lower echelons. Paradoxically, however, in order to achieve the supervisory functions of the totalitarian regime, the machinery of both party and state had to be expanded. This expansion hindered the full implementation of the Fuhrerprinzip. The dramatisation of Fuhrerprinzip in the Nazi cinema, and how history films were used to propagate themes of anti-parliamentarianism and the concept of an individual leader of...

The Operating Budget for the City of Cincinnati Ohio Research Paper

The Operating Budget for the City of Cincinnati Ohio - Research Paper Example Possessing the knowledge of budget is a pre requirement to have an impact on the city government. The local self government of the Cincinnati city is biennial. It can be seen that municipalities in Cincinnati have the power of the local self government to enforce sanitary regulations as well as other such regulations, which would not be in conflict with the general laws. Many of the important decisions regarding various operations in the city are done when creating the budget. The biennial has various responsibilities such as supplying clean and pure water to the public. In the city, various efforts were taken by the government to reduce violence through more stringent implementation of criminal justice system aided by law enforcement as well as other community organizations. 1. Budget Overview: 1. Financial Summary, including Revenue and Expenditures In the City of Cincinnati, Ohio, the biennial local governments utilize funds to maintain different types of revenue and expenditure a ccounts, keeping them separated from each other depending upon the goal of the fund. The budget of the city of Cincinnati is arranged on the basis of cash with the exemption of accrued employee benefit costs and personnel services. In the basis of cash accounting, revenue is identified when it is received and a cost is identified when it is paid. The city reports various governmental funds including General Fund, Capital Projects Fund, Debt Service Fund and other such important proprietary funds include Water Works Enterprise Fund. The city assembles, sells and purifies water to facilitate businesses and most importantly the residents of Cincinnati. Revenue consists mainly of user costs. 2. Department Budgets: The department budget of the city of Cincinnati permits to evaluate the costs and expenses connected to a particular section and whether the profits are adequate to convene these expenses or not. Furthermore, it allows the management to determine its financial performance. Fol lowing are the Department Budgets summary of the City of Cincinnati Ohio in Biennial. (financial plan) 2011 2012 2013 changes to 2013 Budget to 2012 Operating budget 28,120,790 29,221,010 28196430 (10245808) Other expenses 25,425,370 27,413,020 30,121,550 (2708530) Equipment 668,150 1,080,000 801,050 (278950) Operating total 54214310 57714030 59119030 (13233288) Employee Benefits 8, 5641,320 10,437,820 10,112,460 (325360) General Fund Overhead 1,403,550 1,421,590 2,424,890 1003300 Debt Service 2,403,550 2,421,490 2,324,790 (96700) Total 89448420 14280900 14862140 581240 3. Funding: Funding refers to the commercial action of providing capital and funds both in terms of fixed capital as well as working capital. The Cincinnati section of Community Development makes possible the process of funding as well as provides other resources that help in neighborhood revitalization, quality housing and human facilities. General Fund is the accounting unit in which every governmental activity is accounted for. Its incomes comprise intergovernmental shared revenues, taxes, investment income and charges for services. â€Å"General Fund expenditures represent costs of general government, economic development, public safety, public services, public health, parks and recreation, and other services† (City of Cincinnati, 2008, p.27). Capital Projects: Capital Projects are

Is it Morally Acceptable to Illegally Download a Hollywood Movie Essay

Is it Morally Acceptable to Illegally Download a Hollywood Movie - Essay Example Most of the information found on the internet is copyrighted. Therefore it is illegal to share information without the permission of the owner. The violation of this law has often been associated with the internet users who often download and share copyrighted information without the owner’s knowledge. Internet users are supposed to pay for the use of online books, music, movies, software and many forms of intellectual properties.   Most copyright owners are supposed to restrict the use of their work to avoid the sharing of their work without their permission. With the presence of such online information, internet users often worry about the imposed rules concerning copyright. Restrictions may hinder the evolution of technology. One such online threat is piracy, which is defined by Hunnewell as â€Å"the illegal duplication and distribution of sound recordings†.Commercial pirates use the Internet to transfer movie files from one country to another for download and sub sequent duplication and counterfeits in other markets. As Waterman wonders, â€Å"no one can be certain whether Hollywood’s worst case scenario of movie revenue decimal due to p2p file sharing will materialize† (2009, p. 261).   It is a fact that the markets for Hollywood movies do not only belong to the English speaking people but also many others natives across the world America, a copyright’s aim is included in the constitution. It is meant to promote the progress of science.

Fiduciary Duties for Directors Essay Example | Topics and Well Written Essays - 1000 words

Fiduciary Duties for Directors - Essay Example 4). The law specifies that some of the fiduciary duties of a director are care, loyalty and good faith. In Charitable Corp v. Sutton, it was explained that directors of corporations would be regarded as agents and trustees who were required by law to act with ‘fidelity and reasonable diligence† (p.6). These three duties also give rise to a fourth, but equally important duty, that of disclosure. Duty of disclosure means that directors are required to disclose full and truthful information when they are communicating with stakeholders. The Delaware Court of Chancery has in the past stated that â€Å"an obligation to the community of interest that sustains the corporation, to exercise judgment in an informed, good faith effort to maximize the corporation’s long term wealth creating capacity† (p.12). Directors of corporations that are facing insolvency owe fiduciary duties to the corporation itself and to shareholder, never to creditors. Duty of Loyalty This fid uciary duty can be traced back to the Guth v Loft case in which the state Supreme Court passed that â€Å"corporate officers and directors are not allowed to use their position of trust and confidence to further their private interests† (p.22). ... It is the way in which a director handles the corporation’s affairs that will determine whether or not his conduct led to a breach in loyalty duty. The Delaware fiduciary law lays out some of the situations in which duty of loyalty may be implicated. Thee include: contracts between the company and directors or other corporations in which the director may have some material interest, dealings between a parent company and a subsidiary, management buy outs, corporate reorganizations or acquisitions which may result in differing interests between the majority and minority stakeholders, insider trading, taking over corporate opportunities and competition by the directors with the company. If directors fail to act when faced with a known duty, they can be charged with violating duty of loyalty (p.24). Duty of Care Directors in corporations are obligated by Delaware law to seek ample information before making any business decision. They are also required to â€Å"act with the requis ite care in making such decisions† (p.32). Although the directors are requires to act with utmost diligence and highest level of due care, they are not obligated to read or to know each and every particular of a contract or any related legal documents. They only need considerable information about a particular situation so as not to make any careless decisions. If the directors are found to have made a decision out of gross negligence, then they can be charged in court for a breach in the duty of care. In order to act diligently, the law in Delaware requires that directors should regularly attend board meetings. They are also required to take their time to review, understand and evaluate all information that they have at their disposal and they should ensure

Against School Essay Example for Free

Against School Essay Against School Gattos opinion on school is extremely intense and straight forward. For the most part I agree with his standing point on the subject of schooling. I agree with his arguments of how we have become a society that completely relies on technology to keep us from being bored, and this notion teaches us to be absent minded rather than creative. I also agree that keeping kids â€Å"locked up† in a building for about seven hours a day gives us no room to grow individually and learn from life experiences. Not only are students the ones in jeopardy because of this confined structure, but the teachers are as well. It’s almost like this narrow minded school system we abide by is just a dark cloud that hovers over us and imprints this idea that there is no other way to do things. When you think about it, school closely resembles what prison is made out to be. A bunch of unhappy people who would rather be anywhere but there. This is NOT what education should be about. We should enjoy learning, not think of it as a chore or something to get over with so that we can move on to the next thing in life. Which is what? More work? We need to focus on training our brains to engage in activities, enjoy the moment, be curious, and to discover new wonders, not new worksheets. I remember being a kid, gazing out the window on a car ride home, letting my imagination run wild, as fast as the car was going. Now whenever I drive for long periods of time, I lean over to look at what my little brother is doing. He’s constantly staring at some sort of computer screen. I even attempt having a conversation with him, asking him if he has any homework he needs help with but all I get in return is the same absent- minded response that I receive every day after school, â€Å"Nope, I already did my homework at school. † I’m always worried that he’s not getting an education, but instead is just receiving a â€Å"schooling†. He never seems engaged in his homework, but is more interested in what video game he can play as soon as he’s done. What ever happened to picking up a book and actually exercising the brain to imagine impossible things such as dragons and fairies? Does the board of education honestly think that they are tricking everyone into thinking that you will learn better off of a simple worksheet rather than actually going out and doing hands on interactions? Why do they restrict us? It’s almost like they emphasis conformity. It’s such a contradicting setting, school is. They put so much pressure on us to be individual and be completely yourself, yet they don’t allow us freedom to do so. I think we all stay so indifferent to the subject that it’s only getting worse. And the more we stay indifferent about it, the more the problem will escalate. It’s a vicious cycle that has to be stopped.

Stanislavskis method of acting

Stanislavskis method of acting Konstantin Stanislavski, (born Konstantin Alekseyev, and sometimes spelt Constantin Stanislavsky), was 14 years old when he first set foot on the stage that his parents owned in 1877. His love of the theatre blossomed throughout his life, leading him to become one of the worlds most influential theatre practitioners to date. His work in the field of theatrical rehearsal techniques made him a household name for drama students worldwide. He published many books and guides designed to give drama students an insight into realism, including An Actor Prepares and Building a Character, which outline various famous rehearsal methods designed to allow an actor to fully relate to their character, to the point that they are not just pretending to be them, but actually living their lives. He argued that the actor should Love the art in yourself, not yourself in the art [1], looking for the emotion within themselves as opposed to the words in the script. Stanislavskis pioneering vision for the theatre was that characters should be believable, and the storyline should focus on the emotion portrayed, engaging the audience through means such as empathy. He argued that anything put forward on the stage should be an accurate account of real life, a thought which derived from his distaste for the melodramatic theatre he had grown up with. However, Stanislavski is one of several famous theatre practitioners, all with a completely different concept of what theatre should be. For example, Bertolt Brecht put forward the theory of Epic Theatre, which taught that the audience should always be alienated from the action onstage, unable to identify with the characters, but rather being left with questions to ask themselves. He believed the audience couldnt possibly empathise with the characters onstage because there were so many individual differences in society itself- society cannot share a common communication system so long as it is split into warring factions (Brecht, 1949, paragraph 55[2]). Brecht wanted the audience to leave the theatre debating their morals. Another prestigious theatrical practitioner is Antonin Artaud, who argued that any performance should deeply affect the audience. In order to achieve this, he used non-naturalistic lighting and sound to create a disturbing atmosphere. Artaud wished his audience to leave the theatre having changed within themselves. With three such different aims from each practitioner, it is difficult to be sure whether any of them had a particularly valid point. All three theories are widely respected, but each contrasts and challenges the next, meaning that, in order to believe in one of them, you must rule out the others as valid. These conflicting theories became the beginning of the main ideas behind this project. I wanted to know whether there was a solid way to prove whether Stanislavskis theories are affective to the audience in terms of creating a more realistic performance than one with normal rehearsal, or indeed rehearsal methods devised by other practitioners. To be able to determine this, I needed to conduct deeper research into Stanislavskis system. The system itself is deep and intricately detailed, with many different aspects as to what Stanislavski considered a good performance. However, some points are evidently more significant to him than others. According to the online Encyclopaedia Britannia [3], the main features are Given Circumstances and the Magic If, and Emotional Memory. Units and Objectives is also a major feature of the system, so these are the three aspects I chose to refine my research to in order to establish a better understanding of Stanislavskis method of acting. Given Circumstances and the Magic If Stanislavski said that what is important to me is not the truth outside myself, but the truth within myself [4], meaning that anything put forward on the stage must be true. He recognised this idea was a potential issue because all acting is, essentially, a lie. He therefore said that all actors should be as true to themselves as they can while playing a part. The idea behind Given Circumstances is that actors accept that, with the script of a play, they are given a set of circumstances which they must adhere to in order to create the storyline. Given circumstances can relate to either the character or the play itself, and they include things like characters age, gender, social class, and the plays time period, setting and social/historical/political implications. In order for an actor to give a true performance, Stanislavski put a massive emphasis on the importance of research into the given time period or situation so that the performer would truly understand their role. He taught that the research needs to be completed until an actor can fully flesh out his character, and answer any questions given to them about their characters parentage, childhood, and life events, even if these arent mentioned in the script. Once the Given Circumstances had been realised, Stanislavski suggested that the actors utilised a linked aspect of his theory, called the Magic If, in order to deal with them. The Magic If is a technique where the actor asks himself given the circumstances already decided by the playwright, if I was this character, and I was in this situation, how would I react?. In his book An Actor Prepares, Stanislavski talked about the professor using the example of pretending to be a tree. Say to yourself: I am I; but if I were an old oak tree, set in certain surrounding conditions, what would I do? and decide where you are in whatever place affects you most (Stanislavski, 1937, p65[5]). Stanislavski asked that his students allow their imaginations to flourish th rough techniques such as Given Circumstances and the Magic If, to construct deeper, more realistic performances. Emotional Memory Another technique which was born from Stanislavskis belief that acting must be real is Emotional Memory, sometimes known as Affective Memory. Shelley Winters, an example of a famous actress with ultimate belief in the Stanislavski System, said that as an actor you must be willing to act with your scars [6], or in laymans terms, be willing to allow your inner emotions and past experiences to show through. This is essentially the main terms of Emotional Memory, which requires the actor to draw on previous personal experiences which resulted in a similar emotion to which their character is experiencing. Once the actor has identified the experience, they are encouraged to allow the emotion they felt once again take over their mind and body, reinstating the context and mind-set until the emotion is real. The emotion must then seamlessly be applied to the script or character, as Stanislavski felt this would make the performance more believable because the emotion is true to the actor. Pete r Oyston, founding Dean of Drama at the Victorian College of the Arts and regular teacher/director at the Royal Academy of Dramatic Art in London, created a rehearsal method specifically designed to enhance the feelings from memories. He published this, and other methods referring to Stanislavskian techniques, in a DVD documentary called How to use the Stanislavski System (2004). The Emotional Memory section can be viewed on YouTube [7], and teaches the student to remember a time when they personally felt an emotion which shadows or parallels that required from the text. They are encouraged to talk about the situation they are remembering out loud, until the emotion takes over their minds and bodies. Then, they must seamlessly transfer their speech from their own recollections to the script given to them, transferring the emotions at the same time. Units and Objectives One of the most prominent aspects of Stanislavskis method is his idea that any character in any play has a Super-Objective throughout the action; an aim or driving force which sustains throughout the play. Stanislavski taught that this Super-Objective must stay in each actors mind throughout their rehearsal and performance, and that even though it may not be stated, or even obvious, they must take it upon themselves to research and discover it. Once this has been accomplished, he felt that the script could then be broken down into smaller Objectives, which would change several times throughout the piece as the plot deepened. Each Objective must be a verb, in order to be an active objective. He asked actors to split their script into Units and Objectives. Most pieces of drama are split by the playwright into a series of scenes and acts, allowing the action to move in time or setting, but Stanislavski found that an objective could run through and overlap into different scenes, or chang e very suddenly in the middle of an act. He therefore introduced the concept of Units, which are another way of dividing up a play- each unit should contain one objective. The diagram above outlines the intricate detail of the aspects of Units, Objectives, and Super-Objectives. The Throughline of Action is the aim in a characters mind throughout the entirety of the play, which culminates in the Super-Objective. Meanwhile, each character has several different Objectives which are split between the Units the actors devised for the script. These Objectives can take the character to many different places, but their Super-Objective will always remain the same. Furthermore, the Objectives themselves are equally as detailed. Stanislavski said that each Objective could be broken down into the Aim, the Obstacle and the Action. The aim is what the character is trying to achieve in that particular unit. The obstacle is something which stops or restricts them from fulfilling their aim, and the action is the steps the character takes in order to avoid or overcome the obstacle. Stanislavski accepted that it is impossible for a play to achieve a smooth finish where objectives are concerned because often, the action takes place off stage. The characters come and go, and the time changes, so we as an audience cannot witness the whole story. Stanislavski said that in order to overcome this, actors must always be consciously aware of their Super-Objective. A familiar example of this aspect of the Stanislavskian Theory is Shakespeares story of Romeo and Juliet. Romeos Super-Objective is to experience true love. He begins the play with the objective of marrying Rosaline, and this continues to be his objective until the Unit shifts at the Capulet party. Here, Romeos objective becomes to find out more about Juliet, and later becomes to marry her. Towards the end of the party, however, Romeo speaks with Juliets nurse, who tells him that her mother is the Lady of the house -that Juliet is a Capulet(Shakespeare, 1973, p. 910 [8]). This provides the obstacle, since Romeos family, the Montagues, have an ancient feud with the Capulets. Romeo then takes on a new action, which is to overcome the feud between the families, even if it means the couple have to lie about it. Romeo doesnt manage to fully achieve his Super-Objective, because he never experiences the simplicity of love he was looking for- both he and Juliet have to die in order to truly be together. Of all the aspects of Stanislavskis method, these three prove to be the most popular among modern day performers. Having researched the key aspects of Stanislavskis system, I devised a way to be able to assess the effectiveness of them on a live performance by young actors, as this would allow me to establish whether the method does in fact help to produce a more believable performance. I decided to conduct an experiment into the effectiveness of Stanislavskis system. I decided to utilise my contacts at a local youth drama group, which is made up of young actors and actresses aged between 11 and 17 years old. In order for the experiment to be a fair test, I determined to split them equally into two groups, and give each group the same scenario to work with. I planned to leave group one, the control group, to rehearse to their own methods, while conducting group twos rehearsal processes myself, giving them tasks similar to those set by Stanislavski to his own pupils. After the groups had had the same period of time to rehearse, I wanted to invite an audience to watch their performances. The audie nce were to be given a questionnaire after the performances, asking which groups interpretation of the scenario they found more convincing and realistic. I intended to film both sets of rehearsal processes in order to put together a short documentary. The results of the audience questionnaire were intended to ascertain whether Stanislavskis rehearsal methods have a real influence on making modern day performance more realistic. In order for this experiment to work, I firstly had to create an idea. Originally, I devised a script which revolved around the issue of teenage pregnancy, which is a growing concern in todays society. The script included four gender specific characters, and I intended to have both groups perform the same piece; one using Stanislavskis techniques, and the others using generic rehearsal processes. Having written the short play, and talked briefly to the children at the theatre, it became apparent that there was more interest in the workshop than I had expected. Another problem with using a script would have been that the audience would have watched the same piece twice, and would be comparing the actors individual performances as opposed to the believability of the pieces. Since it would have been unfair of me to cast the roles, I instead decided to take a different approach in order to include everyone. I devised a scenario, again based around a teenage pregnancy, that each group wou ld be able to use as the core of their piece of drama. They would then devise the rest of their plays alone. This meant that each group could incorporate a flexible amount of participants, and ensured two unique, original performances. With my idea in mind, I next needed to devise some Stanislavski-based rehearsal techniques for my group to use during their preparation for the production. Keeping the themes of Given Circumstances and the Magic If, Emotional Memory, and Units and Objectives in mind, I devised three rehearsal techniques specifically tailored to Stanislavskis ideals. With these techniques devised, I had to actually carry out the rehearsal and performances. In order to do this, I would need a space, two groups of actors, a party of responsible adults with CRB checks and an audience. I contacted the chairman of the theatre and booked myself a studio performance room for Saturday the 3rd of April. I then sent out letters to the actors involved with the Nonentities Youth Theatre. The letters outlined the project and the experimental side of the day, offered the chance to look at the technical side of theatre, and asked for a response. I received 18 positive responses back, which was many more than the ori ginal 12 participants I had in mind, making the scenario idea far more usable. I then had to split the actors into two different groups, a control group, who would direct themselves, and the experimental group, who I would direct using Stanislavskis methods. The groups needed to be equally weighted with talent, as it was important to make this experiment as fair as possible by not allowing acting ability to throw it. I therefore split the actors into groups myself, aiming to balance the ages in each group while placing responsible actors I could trust to work independently in the control group, and actors open to co-operation and willing to listen in the Stanislavski group. The Independent Variable of this study was whether Stanislavskis methods were applied to rehearsals, and the Dependant Variable was whether the performance was more believable based on the rehearsal method used. My hypothesis was: The techniques used in rehearsal will have an affect on the performance given. I experienced my first problem of the day when the actors arrived in the morning. Shortly before the workshop was to take place, a letter had been sent to all members of the youth theatre outlining the need for a new leader and the cancellation of sessions until another letter was sent out. It became apparent that many of the actors who had wished to be a part of the workshop had assumed that it, too, was cancelled, so the final number of actors I had to work with was just 10. Although I had to adjust the group list, the smaller number of participants made the day as a whole more intimate, and the group sizes more manageable, so I feel it was a beneficial circumstance. Once everybody had signed in, I conducted a brief warm-up, asking all members to think of the way different characters moved and spoke in real life, asking them to act believably, not just as caricatures. I then split up the actors into groups, and chose the two girls who I felt would be most capable of acting the par t of the pregnant teenager. I asked both groups to create a piece of drama focussing around the pregnancy that would last between 10 and 15 minutes, and I gave each group a list of criteria that they must adhere to, including aspects such as using the younger members in the younger roles, including a number of monologues from different characters, and that they must write down the decisions made in early rehearsal. I told the control group that they were allowed to use music, and dramatic techniques such as physical theatre and freeze frames, while the Stanislavski group had to endeavour to make their characters and circumstances applicable to real life, and were told not to use out-of-place techniques like freeze framing. The video was set to record as the groups split up into two different rooms, and I allowed the control group to keep to themselves for the majority of the day, while I worked with the Stanislavski group, asking them to use my previously-prepared rehearsal techniqu es. The first technique I gave them was designed to support Given Circumstances and the Magic If. I asked each group to use the first stages of rehearsal to create mind-maps around the pieces of drama. Whilst the control groups map outlined the storyline, the Stanislavski group were asked to spend an hour and a half fleshing out their characters, and the relationships and links between them. They gave each character a name and an age, they wrote about their beliefs and opinions, and decided upon how their characters met. Each actor developed a detailed history for their character, pulling from personal experience and their imaginations to create steady backgrounds. These are aspects relating to Given Circumstances and the Magic If because they invite the participants to firstly realise the Circumstances the script gives them, and secondly to flesh out their characterisation by putting their characters in different situations through use of the Magic If. The second technique I devised related to Emotion Memory. I used this technique when working with the actress playing the pregnant girl. We applied it to the scene in which she is told that the test is positive. I asked her to think about a time when she felt lost, and perhaps didnt have anybody she could talk to about it because nobody had been in that position before her. She talked of a time when her parents were going through a messy divorce, and she felt cut of from the both of them. She spoke openly and freely, and answered my questions honestly. As time went by, she was drawn further and further into her memory and the emotions that were present at that time, so that when I finally asked her to begin talking from her characters perspective, her acting became real. She didnt need to fake the tears, because she was filled with the emotion her character was filled with. The third technique was designed to compliment Units and Objectives. Once the actors had created their storyline, I asked them to divide it up into scenes, so that it was as close to a normal scripted piece of drama as possible. We talked about each of their characters, and what their Super-Objectives would be. The actors decided upon everyones objectives as a group, which brought a deeper level of understanding to the piece. They decided that the fathers Super-Objective would be to protect his children, while Rosie, the pregnant daughter, aimed to face her future head on. I then asked each actor to divide up the play into their own Units, focussing on the shifts in emotion. This process proved difficult for the younger members of the group, so the group as a whole helped them to identify their Units. There proved a great variety in the amount of Units in the piece for each character; while the pregnant girl had almost one per scene, the father had only two. Furthermore, the switch b etween Units for him came suddenly in the middle of his monologue, which was right at the end of the piece- before then his character had wanted the same thing throughout. I asked the group to physically improvise the scenes they had written about, and to stop the action when they encountered their obstacles. Once they had all found their obstacles, they were asked to continue acting while finding a way to overcome this obstacle- their action. I then asked them if they had noticed the other actors actions in the scene, so that everybody was aware of the decisions their group was making.This in-depth workshop class on Units and Super-Objectives made the young actors aware and knowledgeable in the field, while also allowing them to know their characters inside out by knowing what they want, and how they might go about achieving it. A couple of hours before the performances were scheduled to begin, I took notes on the rehearsal processes of both groups. The control group had included an omniscient narrator who could stop the action and introduce new characters. The narrator sat in the middle of the piece throughout the majority of the action, until the final scene where he became an involved character. A narrator is generally used to create a sense of dramatic irony, where the audience gain knowledge that the characters dont yet know. However, this type of narration is rarely set within the piece itself, more often a voice over or such like. It is also unrealistic that the narrator, who is generally removed from and neutral to the action, suddenly become real life and jump into the scene. The group also used a split-screen technique to enable them to show two different apartments at the same time, which is effective to the audience but unrealistic, as while action is playing out in one space, the characters in t he other must be frozen. This creation of freeze-framing is difficult to hold for long periods of time, and does not occur in a genuine situation. Another technique they used was audience-participation, where one member of their cast sat in the audience until the final moments of the play, where she rose, walked across the stage, took out her mobile and called the police. I concluded that the control group had included various aspects of performance which were designed to make the action more interesting to the audience, and add the element of surprise, but were not designed to look or feel realistic. They had spent only half an hour mind-mapping their decisions, and talked about their other decisions while physically rehearsing. The Stanislavski group spent an hour and a half developing their characters, and another hour developing their storyline, so they ended up with four A3 sheets of paper detailing their entire performance. They used only one location, the teenagers bedroom, so that there was never a set change needed, because it would interrupt the storyline and distract the audience. The groups monologues were delivered to a person, as opposed to the audience, so that the barrier between the audience and the characters stayed strong. Had the actors been talking to the audience, their speeches would have seemed less realistic. After five hours of rehearsal, it was time for the final performances. Each actor had been asked to invite some family members or friends, and members of the theatre came along to participate too. Each audience also included the actors from the other group, making the final audience figure 19 members. I watched the performances, but didnt participate in the questionnaire, as I would have been biased toward the Stanislavski group. I introduced the pieces, and talked about the work the actors had undertaken over the day. The audience werent told which group was the control group, and which group was the Stanislavski group, until both performances had finished, meaning that they couldnt be biased in favour of Stanislavski either. I also asked them to be open minded, and not answer the questionnaire in favour of the production their child was associated with, telling them they were judging my direction, not the individual actors talent. The audience watched the control group first, and w ere given time to fill out their questionnaires while we set up the stage for the Stanislavski group. After both performances had finished, I thanked everybody for taking part and collected in the questionnaires. Having extrapolated my results, it became apparent that there was a general feeling that the Stanislavski production was more believable. When asked was the main storyline believable, 66% of the audience thought that the control groups piece was a dramatised and exaggerated version of real life, while 95% thought that the Stanislavski groups piece could credibly happen in real life. Having worked extensively with the pregnant character from the Stanislavski group, I was pleased that 42% of the audience thought that she portrayed the pregnancy flawlessly, while a further 42% felt that she portrayed it very well, while in the control group, these percentages combined only reached 44%. I asked the audience to rate how believable they felt the overall performances were, and 56% rated the control groups performance at an 8/10 or higher, while 94% rated the Stanislavski performance at an 8/10 or higher. Overall, it is evident that the Stanislavski groups performance was more widely believe d. It is important to note that the effectiveness of the performances given may not be entirely down to the methods of rehearsal used. Although I tried to make the experiment as fair as possible by attempting to make the rehearsal methods the only variable, other extraneous variables may have had an affect on the final results. For example, since there were fewer participants than planned, I had to shuffle the groups a little. This meant that the control group had two of the younger members in their piece, while the Stanislavski group had four older members. The younger members of the theatre are less experienced and therefore dont have as many creative ideas to bring to the mix. It is also apparent that almost half of the audience were family members of the younger actors, meaning that they are liable to vote in favour of their childs piece as they are proud to see them on stage. Although I asked the audience to keep an open mind, they may have been bias towards their family or friends , and this is a factor which could have affected the final results. At the beginning of my project, I asked myself What is Stanislavskis Method of acting, and how far has it influenced modern day performance? Having undertaken a considerable amout of research on Stanislavski and his methods, it became easier for me to define them, and to easily distinguish the difference between his teachings, and those of other practitioners. I found that Stanislavskis method of acting is largely based around the actors own interpretation of the character, aiming to keep the emotion real. I found that Stanislavski wanted the audience to connect with both the storyline and the characters, and he achieved this connection by keeping th acting real, thus allowing the audience to connect empathetically. Having created an experiment to see whether Stanislavski did indeed influence modern day performance, I found that the audience were effected by the group that used the Stanislavskian rehearsal techniques, so much so that one person wrote on the bottom of their questionna ire that their performance actually brought tears to my eyes. While researching, I came across a website [9] where Jeni Whittaker (1999) argues that Stanislavski is rightly called the father of modern theatre, his System of acting became the backbone of twentieth century theatre craft. Nearly all other practitioners use him as a starting point, either to build from or to react against. This substantiates my initial hypothesis that Stanislavski has a major influence on modern day theatre. In conclusion, I feel that Stanislavski has an extended influence on modern day theatre. Audiences of today wish not to be challenged or alienated, but to see characters they can relate to on the stage, and the majority of theatre today follows this teaching, whether the director realises he is adhering to Stanislavskis theory or otherwise. Furthermore, when watching two similar pieces of drama, it became apparent that the audience are more drawn towards that which used Stanislavskis rehearsal techn iques because the characters and storyline were portrayed in a true to life manner. I found that Stanislavski is not only used in theatre, as many famous screen actors choose his methods when getting into character. I feel that the world is exposed to Stanislavskis teachings more than it realises, and therefore the influence of Stanislavski on modern day acting is significantly higher than I believed when I began the project. References: Source unknown, Stanislavski. Brecht (1949). A Short Organum for the Theatre, paragraph 55. Encyclopà ¦dia Britannica (2010). Stanislavsky method. Encyclopà ¦dia Britannica Online; Retrieved February 22, 2010, from: http://www.britannica.com/EBchecked/topic/563178/Stanislavsky-method Source unknown, Stanislavski. Stanislavski (1937). An Actor Prepares, (reprinted 1988) United Kingdom: Methuen Drama LTD. Harry Governick for TheatrGROUP. (1992). An Interview with Shelly Winters; Retrieved February 22, 2010, from http://www.theatrgroup.com/Shelley Peter Oyston, How to use the Stanislavski System DVD(2004). Retrieved (via YouTube) April 12, 2010, from http://www.youtube.com/watch?v=zmhggaEuJj8 Shakespeare (1973). Romeo and Juliet, from The Complete Works of Shakespeare- The Alexander Text. London and Glasgow: Collins. Jeni Whittaker for DramaWorks. Stanislavski through Practice (1999) Retrieved April 13, 2010, from http://www.dramaworks.co.uk/stanislavski.html